Louisville Dance News

Reinvention = Longevity: Katie Scott Discusses Her Life in Dance

2011-01-12T18:41:00.000-08:00

For those of you who have seen a modern dance concert in Louisville, you have probably seen Katie Scott perform. And I’ll bet you remember her. Not because she is 5’11’’. Not because she has long, curving feet that other dancers envy, but because she has a distinctive way of committing to movement. Fellow dancers would agree Katie is a “dancer’s dancer”, possessing refined technique while easily adapting to varying dance styles. However, as an audience member, I can also attest to the fact that she has a gift for pulling viewers in. It is a skill that cannot be taught. Perhaps is can be attributed to a life lived in dance.

Katie will tell you she cannot remember when she first began dancing. She was making dances by the age of 6, decorating herself and her friend with rhinestones and feather boas. Now a college student, Katie has again taken on the craft of choreography. This time, however, she wears bubble wrap and collaborates with musicians. What brought her to this place? Katie answers this question for me here, the second in a series profiling Louisville-area modern dancers.

What has been one of the most important moments of your dance career?

My freshman year of high school I was told that I was “too tall” to participate in The Nutcracker along with the rest of my class. Up until that point, I had danced in The Nutcracker for 7 years (early years with Ballet Memphis and the later years with the Louisville Ballet). At 5’11, I do tower over most ballet dancers. It was then that I even toyed with the idea that the world of professional ballet might not be for me. The next year, I officially decided I didn’t want to pursue a career in the field of professional ballet and that I wanted to go to college and study Physical Therapy. I’ve since changed my major to Nursing, but I wouldn’t be where I am today if I hadn’t made that decision.

How did you get involved in Louisville's Modern dance movement, and why does modern work for you?

In the summer of 2007, I went to Governor’s School for the Arts and studied ballet for 3 weeks. In those 3 weeks, I completely burned myself out of ballet. Ballet class became a chore rather than something that brought me joy. However, in those 3 weeks, I gained incredible experience and exposure to modern dance. On “Dance Immersion Day,” I had the privilege to see Moving Collective perform selected works from their season. I immediately knew I had to get involved with that group. I’ve been dancing with Moving Collective now for…4 years?! I can’t believe it!

Modern dance works for me because it allows me to use my body “as is.” I can proudly stand at 5’11 and not wish I could cut my ankles off to shrink 4-5 inches. I can move my body in unique, challenging ways without having to fit the mold of anyone else’s standards. With modern dance, walking into the studio to dance is always a privilege, never a chore. Don’t get me wrong, I still love ballet! I stay involved with the ballet world by supporting ballet companies, taking ballet classes and teaching ballet.

How do you see yourself staying involved in dance in the future?

I always tell people thatI’d like to keep dancing until my body finally gives out (which will hopefully be a long time from now!) Because my entire life has basically revolved around dance, imagining my life WITHOUT dance is unfathomable. Most recently, I collaborated with Erin Clark in choreographing (for the first time ever!) a piece for Moving Collective. We are currently working on our second collaboration for the February 12th Moving Collective concert. I’ve also danced with Vandivier Ford Dance Company and look forward to working with them again soon. I’ve taught ballet at Sacred Heart School for the Arts but recently had to stop because of scheduling conflicts with school. I hope to teach again soon! However, when the time comes that my body finally tells me to stop dancing, I will stay involved by supporting local and regional dance as much as possible!

As a dance artist, how do you view success in the field?

I’ve managed to focus on school while continuing to make dance a part of my life. With that, I feel successful.

(For those of you who have ever taken dance classes, you’ve been asked by your friends of family during already-awkward holiday get-togethers to “do a move”. I suspect many of you do as I do, pretend to be shy and change the subject. But in her answer to my last question, Katie Scott demonstrates her talent for pleasing the masses.)

When people learn you are a dancer do they ask you to "do a move", and if so, what "move" do you "do"?

After attempting to clear up the initial confusion between modern dance and dance team, I’ll usually bust out some sort of “pretty” or “flowy” “move.” I feel like it has the most “WOW” factor, so I usually stick to that. Sometimes, I might throw in an arabesque or 2 in there because it’s something people recognize.

Read my first profile of Moving Collective’s Theresa Bautista here.

Performance art, dance in public, ballet's end

2011-01-11T18:46:00.000-08:00

I'd love to get your thoughts on this article.
Specifically, what do you think about the fact that Trisha Brown is still the only example of public performance choreographers we site? Do you think ballet is a dying form? What about dance in the technology era?

Read more about MoMA's commitment to performance at ArtInfo.com.

Like a Fine Wine

2010-12-21T18:57:00.000-08:00

At 35 years of age, I am the kind of dancer who says things like, "I don't work in fifth anymore". I make choices that feel right, a sensation I was taught to ignore while conditioning my young body to do as it was told. And so dancing for another choreographer presents interesting challenges. But when a friend asked if I would like to dance in Jan Van Dyke's work for the November Moving Collective concert, I excitedly accepted. It had been years since I danced for someone else. Could I still do it?

I learned I would be working with a group of experienced professionals. These women knew how to rehearse, how to collaborate, how to prepare and follow through. It was one of the most rewarding dance experiences I've had. So it was easy to confide in them that an old injury had returned. "Yes, I will be responsible for lifting/not dropping you. And I'm injured. But don't worry." They understood. It was exciting to push each other to reach Jan's stated goals. We could offer critiques to each other, eager to improve our parts. This is the kind of performance experience that comes just every once in a while, one that seems to define the kind of dance community Louisville hosts.

I hope that those who attended the last MC concert could see this spirit of support and collaboration revealed on the stage. And although I won't be participating in February's show, I wouldn't be surprised if the cast creates something genuine for its audience to view/be a part of. This seems to be the gift of this city's order of modern dance.

Check out MC with Bourbon Baroque in February, 2011. (Keep an eye out for more info here.)

Still here

2010-11-16T19:16:00.001-08:00

Just finished performing in the latest Moving Collective concert. More on that soon. Still processing. For now, enjoy:

Upcoming JanStreet Performance

2010-10-15T18:07:00.000-07:00

See the show that was banned in England and put Noel Coward on the map! With the unique spin of Jan Street Dance Theatre! Only two performances: Tuesday November 9th @ 7:30PM & Wednesday November 10th @ 7:30 PM

The MeX TheatreKentucky Center for the Performing Arts
501 W. Main Street
Louisville, KY 40202

Visit www.janstreet.com for more information.

For the Laban-heads

2010-10-15T17:59:00.000-07:00

More on Knowing Your Audience (Fractured Atlas)

2010-09-12T06:52:00.001-07:00

The Art of the Survey

Dichotomy of a Dance Artist: Classics Meet Collaboration

2010-09-07T17:20:00.000-07:00

I’ve recently learned that we have a number of readers from outside the dance community, meaning they are not practitioners themselves. However, they are patrons and supporters. And they often engage me in conversation about past posts in an effort to understand what we do, why we do it, how we get it done. I’ve found, through these discussions, that the “who” often informs their perceptions of the “what”, “why”, and “how”.

Theresa Bautista, Director of Moving Collective and Louisville dance educator, graciously offered to be this blog’s first local artist profile subject. Between teaching obligations and rehearsals, Theresa found time to answer my questions. Let this be our intro into who is making dance in Louisville.

Most artists find a connection to their chosen medium early on. I asked Theresa, “What is your first dance memory?”

Well, my first personal memory is always being in the basement with my family and dancing to music playing on the stereo. We listened to all kinds of music and loved to dance. I remember being very young and my sister could twirl on one leg and I wasn’t coordinated enough yet to do it. It was very frustrating! As for organized dancing, my mom was a big fan of musicals and we would always watch tons of them, Gene Kelly, Fred Astaire, Cyd Charisse...I loved them.

“What was one of the most important moments of your early dance career?”

I remember becoming really cocky in my early teen years. I was already one of the top students at my dance studio and learning new steps and choreography was very easy for me. My dance teacher at the time was teaching us new choreography which I picked up quickly though others were struggling. I coped an attitude like, “Is that it? What next?” and she quickly put me in my place in front of everyone. I immediately realized what I did was extremely rude and disrespectful. It was an important lesson learned, that no matter how frustrating a choreographer or teacher can be, you have to behave professionally. The dance world is small, and if you want to work in it, you " have be someone that people want to work with or work for.

So what kind of artist did Theresa become? What marks her choreographic style? Theresa avoids labels and remains open to growth.

I don’t really know how to describe my choreographic style. That might be better answer by people who have danced for me or have seen several of my works. Since I didn’t major in dance in college, I didn’t take composition classes and I never took a modern dance class until the last semester of my senior year! I never saw myself becoming a choreographer for concert dance and found the process very intimidating. I am a quick study and always analyzing people’s process so have learned a lot of choreographic techniques from working with different choreographers. My nature is to constantly challenge myself, so I am always trying different things. Right now I’m in a phase where I want to tell stories or make people think about things, so my choreography has a more narrative point of view. But I think I always try to make the actual steps very physical for the dancers. I think that’s because I still consider myself a dancer first and I always wanted to be challenged both physically and mentally.

Her work, although not a reflection a specific codified technique, is inspired by Paul Taylor for his ability to find compositional motivation in “everyday common things”. But Taylor’s willingness to make risky decisions when crafting his dances perhaps also encouraged Theresa to make a life in dance within a community where modern dance was in short supply.

When asked, “Why Louisville?” Theresa responded,

Honestly, I never saw myself returning to the Louisville area. I thought I was going to make my mark in NYC like every other dancer. But after graduating from college, I found myself back in Louisville with a very good teaching job. I was always torn between my love for teaching dance and my love for performing. I struggled for a long time with that. Eventually I found a little bit of a balance by dancing with the modern dance company, Art! Art! Barking Dog before it folded in 2006. Around that time, it seem that a lot of dancers were returning to the area. I thought, why not put together a concert to showcase the wealth of modern dance Louisville has right now. It was only suppose to be one concert, but I go so much great feedback and encouragement to do another one that Moving Collective is in its 5th season. Some people say I’m “modern dance” in Louisville, which I think is crazy. But I like to connect dancers with each other and Iʼm am glad that there is an outlet for me and others to dance and choreograph in the city. Although Louisville loves its sports, I think it also loves the arts. I would love to see a strong, vibrant modern company exist in here at the same level as the ballet company, orchestra, opera and theater. That company doesn’t have to be Moving Collective, but maybe we’ll be a stepping stone to make that happen.

While Theresa is promoting modern dance in Louisville, teaching both youth and adult dance classes, choreographing for the next concert, or organizing the growing list of participating dance artists, she is keeping her eye (and ear) open for ideas. A recent collaboration with Bourbon Baroque demonstrates her assertion that partnerships are valuable. In fact, this spirit of community defines the atmosphere that Theresa helped created in the Louisville dance scene.

What’s next for her? “I’m always open for ideas.”

We're Not Fooling Anyone

2010-08-18T14:57:00.000-07:00

On a recent vacation I was introduced to a friend's new beau. He lives in NYC, dates a modern dancer, and runs with a group of artists. He has seen his share of dance.

One evening after a few drinks, during a conversation about his girlfriend's recent project, he confessed something that had been bothering him: dance-runs look ridiculous. "You all do it," he continued. "And you look so snobby." He demonstrated, prancing across the wide kitchen with arms reaching towards the ground and chin lifted to the sky. "Snobs."

I was shocked. I had heard much criticism over the years from modern dance patrons who offered feedback ranging from "it was too weird" to "can't the dancers point their feet?". But this was new, and I laughed hard at this honest observation and my own participation in the dance-run phenomenon.

Considering my recent hypotheticals I couldn't help but apply the following questions: why do we, as dance artists, do what we do and who are we doing it for? And as it applies to this post, why would I choose to direct a mover from point A to point B by instructing them to run, jog, prance, trot, sprint, or scamper if I could create unique movement. (I am, of course, omitting any choice to do so that directly supports the choreographic theme. Let's be honest: the use of running as movement vocabulary is not always relevant or meaningful.)

My most recent work used running as a means to exhaust the dancers, a deliberate choice thought to successfully communicate the message. (I'll leave it to the audience to measure that success.) But I can easily bring to mind a handful of dances I've created since undergrad that used dance-runs as filler. Not sure how to get Dancer #1 off stage? Run. Need to find a transition from one piece of music to the next? Run. We've all done it. And perhaps some of us have even escaped without any viewer having noticed we copped out.

And so the boyfriend's review stuck with me. Not only was he on to us, he labeled the choice self-serving and transparent. Oops.

As I begin planning my next project, then, I'll not only consider how my choices will be perceived by the audience, I will also assume any attempts to mask my indecision will not go unnoticed.

More on DNA, Speaking Out

2010-07-14T12:17:00.000-07:00

Click here to view the NY1 news piece detailing DNA's current efforts to stay open in response to threat of eviction.

My earlier post asks for your opinion: should the city step in? Does the outcome have an effect on dance communities elsewhere?

DNA Closing? (What Does it Mean?)

2010-07-11T19:12:00.000-07:00

When I first visited New York City as a college junior, a student at the Tisch summer dance intensive, I spent the week wide-eyed and dumbfounded by the opportunity available to a young modern dancer. And although I’m sure you would love to hear another story about a Midwestern girl moving to the big city, I’ll jump to what is relevant to this post:

The first technique class I took (on my second day in the city) was Beth Goheen’s intermediate ballet at Dance Space. My second was Max Stone’s modern jazz, also at Dance Space. My third would be Katiti King, at Dance Space, and so you get the idea. The studio would be where I spent more time than any other place in all of the five boroughs during my eight years in New York. It was where I met and was subsequently influenced by artists like Jennifer Nugent, Ezra Caldwell, and Nia Love. And not only did I study with the staff teachers, but I also took workshops, performed in showings, rented space…it was home.

When Dance Space became Dance New Amsterdam and moved further downtown, I was one of the many who resisted the change. The studios were cramped and not only did we have to navigate a room packed full of other dancers (which was expected), we were also now ricocheting off pillars and fighting for coveted mirror space, now sparse. The staff of teachers that had represented a community of experienced and gifted educators now seemed heavily populated by freshman instructors who had only just graduated from training courses.

Despite my attempt to boycott these alterations, I soon had changed my subway route, located the nearest coffee shop, and paid my fees at the new front desk, staffed by young dancers who did not know my name when I entered, who misspelled it every time, who were instructed to explain to me where the bathrooms were. And regardless of my feelings about the new space, there still existed a place where I could go nearly any time of the day and pay a reasonable amount for a great dance class. It was also the last place I visited before leaving New York for Indiana four years ago.

And so when I read that DNA is seriously behind in rent and is facing eviction I was saddened. I am concerned for friends who are DNA teachers with loyal followings, as they have sacrificed much to maintain a career in dance. But I also had to wonder what the closing of DNA would mean for dance. DNA’s executive director is taking the matter to the public, asking for support from its patrons and the city itself. It seems everyone is hoping that by stating the importance of such a venue the right guys sitting at the right desks in city government buildings will step in and “Save DNA”.

I hope so. But if not, if the thousand plus dancers who have so far signed DNA’s statement of support cannot convince NYC to step in, what can dancers in cities less supportive of their dance community expect? Is the outcome indicative of what dance artists throughout the U.S. will be facing?

It raises an interesting question: does a city have a responsibility to protect its cultural institutions? DNA is not only a pay-per-class studio. Should NY, then, step up? And what would this assistance look like? The obvious answer would be to simply provide financial assistance. But if the rent continues to increase, even though DNA's revenue has increased the last few years, will it be enough?

More on this to come, but in the meantime, thoughts?

Moving Collective Accepting Choreo Submissions

2010-06-28T14:32:00.000-07:00

Per their Facebook Page

Now accepting submissions for adjudication for FALL 2010 concert. Please send DVD of work with Choreographer resume and Artistic Statement for consideration to Moving Collective, PO Box 4866, Louisville, KY 40204 by July 19, 2010.

Thoughts?

2010-06-27T18:06:00.000-07:00

Discussion: is NYC the center of the dance universe? (Video)

Audition at Louisville Dance Alliance

2010-06-27T18:02:00.000-07:00

Check out the announcement with details on their Facebook page, here.

Finding Each Other

2010-06-06T15:36:00.000-07:00

"Back in the day" I'd learn about upcoming performances, master classes, auditions, etc. during rehearsals or at afternoon coffee with colleagues. Then we settled for emails with hyperlinks to event calendars. Lately we're lucky to trade text messages or spot new additions to Facebook calendars. And although I resist replacing cherished face-to-face exchanges, my living an hour and a half away from my friends means I'm looking for any way to stay on top of it.

So, I tweet. But it's not so bad. In fact, here are some of my favorites:

www.twitter.com/louballet
www.twitter.com/movingcollectiv
www.twitter.com/louisvilledance
www.twitter.com/louartsreview

See you there...

Sunday's Performance by Louisville Dance Alliance

2010-05-13T06:41:00.000-07:00

Date:	Sunday, May 16, 2010
Time:	1:30pm - 3:00pm
Location:	Clifton Center Theater
Street:	2117 Payne Street
City/Town:	Louisville, KY
	Louisville Dance Alliance's Spring Dance Concert: Modern, Jazz, Hip Hop and Tap pieces will be showcased, as well as excerpts from Swan Lake. Come see some amazing dancers!! Suggested Admission donation $5-$8. Check out their website for more about LDA.

Should an audience pay to see improvisation?

2010-04-28T19:03:00.000-07:00

"Of course it's free." This was a response received when I invited a friend to a recent U of L Improv Ensemble/Moving Collective improvisation performance. "Why is that?" I asked. He said that since we're just "making it up as we go along" it wasn't a "real" performance, implying it was a lesser version of a collaboration between two arts groups, and wasn't worthy of financial support. It was us just messin' around. Hmm.

Fortunately, I was prepared to hammer this one out. This wasn't the first time I've defended the craft of improvisation:

Inevitably, some students new to my improv or creative movement classes were, at first, baffled when I talked about making informed movement decisions. It required great effort on my part to convince this group that there is a method. (Some, unfortunately, never came around.)
If it's done well, some audience members don't believe a performance was improvised. I've even heard one argument that an artist's improvised work was probably choreographed but "he wanted to make it seem more interesting" and so claimed it was improvised.
And I've even found myself arguing its value to other arts educators who, quite frankly, should know better.

And so I was ready when this individual presented me with a familiar challenge. I was to make the case for improvisation. Steve Paxton would be proud.

Post-performance, this discussion rang in my ears. I had talked about method, skill, practice, contact, and risk. But I realized days after my participation in the collaborative performance that I had forgotten one important element: balls.

That's right. It takes balls to get on stage in front of an audience, perhaps having prepared by memorizing cues or spatial maps, and make something interesting. Add a slew of other dancing bodies also "making it up" and you've got a recipe for either disaster or greatness. (Believe me, you will know the difference.) The outcome is reliant upon the participants' commitment to the method: first, a performer must be aware of and in tune with the collaborative movers and/or other performing artists; then, a performer needs to possess an understanding of movement concepts from which to pull; in addition, he or she must be able to design, through movement, a direct link with the audience (since improvisation can be an introspective and personal experience). And more.

So is this enough? Do I see you reaching for your wallet? Is this coordinated effort worthy of financial support? Do you believe improvised performances contain the same thoughtfulness and relevance as choreographed ones? Lots of factors to consider. Lots to debate. As long as we continue the conversation and avoid pulling our support from work we may not understand (yet), we'll be fine.

Regardless, was the U of L/Moving Collective performance deserving of the kind of support a traditional dance performance receives? Of course.

Very Cool Dance Performance This Weekend

2010-04-13T19:14:00.000-07:00

Doing anything Friday?

Very seldom does one have a chance to see/hear great art for free. But Friday offers a little of both: see U of L's Improv Emsemble perform in collaboration with Moving Collective.

Friday
FREE
Comstock Hall/U of L School of Music

Be there or be square.

Performance this weekend: Vandivier Ford Dance Co

2010-03-24T16:22:00.001-07:00

Lauren Vandivier Ford and Josh Ford invite you to come see the premiere concert of the Vandivier Ford Dance Company.
Saturday March 27th at 7:30pm
The Clifton Center Theater
$10 general admission, $8 students

This collection of modern dance works encompasses a wide spectrum of emotional and physical values. The quirky "Don't Pet the Peeves" explores how easily humans are frustrated by the trivial habits of others; while the emotionally charged "Aftershocks" attempts to find sense and reason in a world of massive destruction and decay. Along with other choreographed works,a structured improvisation will also be showcased, incorporating material from composition studies by the dancers.

Company Members:
Jesse Barfield
Nicole Bryant
Erin Clark
Maggie Patten
Katie Scott
Mary Jane Stoess
Lew Winstead

Apprentices:
Cheri Gotliebowski
Nicole Hommrich
--
Contact: Lauren Ford
Louisville Dance Alliance
www.LouisvilleDanceAlliance.com
(502)802-7265

One I Missed: Shen Yun in Louisville

2010-03-12T06:52:00.000-08:00

How embarrassing. I missed this one, a recent addition to the many important dance companies who have visited Louisville. Fortunately, it seems I'm the only one, since the auditorium was packed for the evening's performance of Shen Yun Performing Arts International Company.

A friend of mine from NYU who is a dancer from China wrote me this week to ask how I enjoyed this performance, assuming I would have attended. And she was right when she then scolded me for not having done so.

I would have loved writing about this group and will only excuse this lapse in judgment by reminding you I have a brand new baby at home. Forgive me?

I know some of you attended the show and have great feedback to share with all of us, so please feel free to respond here.

And if you, too, missed Shen Yun and are curious, view video of the company here.

Keep it comin'

2010-03-04T08:01:00.000-08:00

Pilobolus, a NYC-based dance theatre company, is the next in a string of professional dance groups visiting Louisville. March 12th at the Brown Theatre you can experience a company that, at one time, was the most innovative thing around. If you've ever seen/performed/created public work or if you, like me, are an ex-gymnast trying to revisit your cartwheeling days through modern dance, then your creative family tree includes these guys.

Check it out.

One Serious Woman

2010-03-02T12:27:00.000-08:00

I mentioned the choreographer Elizabeth Streb in a past post and recently came across this article interviewing the innovator about her methods and aim. Read here!

Defining the Subjective

2010-02-23T14:15:00.000-08:00

On the heels of my recent Parsons post, I want to venture further into the discussion of “accessible” art. I am inspired to do so after listening to the podcast of WFPL’s interview with three leaders in the Louisville arts scene.

The interview featured William Morrow (21C), Churchill Davenport, (Kentucky School of Art), and Martha Slaughter. All noteworthy members of the Louisville arts community, I was eager to listen to the 45+ min. piece, revisiting between work assignments and breastfeedings. My interest is in part due to the fact that I am a practicing performing artist who assigns her own work the title “contemporary”. I was interested to hear how others defined the term, as it is a topic of discussion and argument amongst artists of my generation.

More on this shortly, but while I listened, I heard WM mention “accessible” art. It was a point of view I was interested in hearing, especially as it related to the aforementioned Parsons discussion. I am realizing we are in danger of exhausting the term. But it is becoming increasingly apparent that it is one that defines 21^st century dance. David Parsons describes his work as accessible because it is easy on the eyes. I call my work accessible because it abandons the theatrical mechanisms that, in my view, build walls between the audience and the work. WM asserts 21C’s exhibitions are accessible because they are available to be viewed 24/7. And so is accessibility, like art itself, subjective? Or does it belong to the one who makes the strongest case?

WM used another phrase while discussing accessibility, one I’ve been known to include in press releases: “shared experience”. This is what museums offer, he said: the opportunity for visitors to stand “one on one” with works from all over the world. I agree, and it is what I’m aiming for in 2010, this opportunity for a viewer to stand with the dance, close and intimate. I want the audience to watch the dance morph from inches away, to have the opportunity to leave and return to a piece when inspired to do so and witness it evolve real time. Admittedly, this is not innovative. Dance artists have been taking their work into the streets for years. It is an application that defines performance today. Performing and visual arts, then, have this in common.

Which brings me back to the discussion of “contemporary” art. CD believes it is a living, breathing form that is redefined by each generation. The practitioners “reinvent themselves”, which is why the Dada movement, for example, experiences resurgences. MS gets more specific, talking about post-WWII forms that encompass various sub-genres. Most dance artists use the word “contemporary” to describe a kind of crossbreeding of ballet, modern, and jazz. Others of us use it in place of “modern”, indicating the same kind of application as MS, denoting a specific timeline, or “contemporary” as post-post modern. Confused yet? So are we.

What makes the conversation even more complicated is the notion that contemporary art, whatever that means, can at times challenge our definition of art. The same freedom that allows artists to be inventive, to experiment, is also responsible for what I’ll call the “I could do that” syndrome. How many times have you heard someone utter the phrase while looking at a painting? Or have you, yourself, thought it during a visit to a museum? I know I’ve questioned the merit of a choreographic work that seemed too simple, too elementary, to receive the support audiences and grantors. A friend once said that, for her, modern art is what she perhaps could have done but didn’t. An oversimplification for the purposes of defining contemporary art, but a perfectly simple synopsis of how some view the movement.

I’m exhausted. Thoughts?

Butoh Experience in Louisville

2010-02-22T10:40:00.000-08:00

I missed last weekend's workshop, but hopefully you all have already heard about this very cool opportunity already and are attending Ms. Emerson's classes. If not:

Lily Emerson of Lucid Street Theatre, in conjunction with Louisville's Alley Theatre and Art Sanctuary, presents an Introduction to Butoh workshop, to be held in two parts February 20th and 27th.

Butoh (boo-toe): noun.
Japanese performance medium, known as "the dance of darkness." Likened to the dance of the unborn moving within the womb, or the act of "considering the human condition from the viewpoint of the departed." Chiaroscuro in motion.

Butoh was developed in the late 1950s in Japan as a way of expressing in performance what traditional Japanese and Western dance and theatre could not, after the atomic bomb had changed the emotional landscape so profoundly. Created, honed, and then taken in new directions by Tatsumi Hijikata and Kazuo Ohno, it has since been integrated into a variety of performance mediums and training techniques, into shamanistic rituals, and on and on.

No prior dance training necessary.
This workshop is open to actors, dancers, artists, and anyone interested in exploring this fascinating, transformative form of physical expression.

"We were asking the actors for impossible physicality. We needed it to be fearless and distinct. Lily's Butoh work drew this potential to the surface and gave them the tools to create a masterpiece." Ben Fuchsen, Artistic Director, Oracle Productions

For more details on the content of the workshop, Butoh, and Lily Emerson's experience and training, please feel free to email her at lucidstreet@gmail.com.

SPACE IS LIMITED —early registration recommended.

WHERE:
The Alley Theatre & The Art Sanctuary
1205 E. Washington
Louisville, KY

WHEN:
Saturday, February 20th & 27th
12-4pm

BOTH WORKSHOPS:
$100 early registration
$110 after February 10th

ONE DAY ONLY:
$55 early registration
$60 after February 10th

STUDENTS:
20% off early registration
10% off after February 10th

TO REGISTER:
email lucidstreet@gmail.com or call 773-782-6726

****psssst. . . BROKE? Group discounts and some sliding-scale options may be available. Contact Lily at lucidstreet@gmail.com for more details.

Degrees of Separation to David Parsons

2010-02-13T11:46:00.000-08:00

In 1997 I attended Tisch's Summer Dance Intensive with a good friend from Ball State. One of our instructors was David Parsons, a choreographer whose work was recognized even by two sheltered, young dance students in Indiana. We were giddy when this towering force entered our studio to view and critique the work just set on us by one of his company members. Please, I thought, let him notice me. I hoped he would be drawn to me in the room of 20+ movers and immediately ask me to join his company. What a dream that would be.

Of course, these things rarely happen. (Although it did happen for Ruth, who was the kind of attention-grabbing dancer that would prompt D.P. to deliver a work contract to her on the last day of the intensive. Seriously.) I nursed my disappointment with exclamations of how rude and pompous he was, and why would anyone want to work with an egomaniac. Maybe Ruth, but not me.

I was jealous, to be honest, and sad my imaginary scenario didn't pan out. But it was true: this man was a piece of work. He began his introduction to our group by telling a story about an audition to which hundreds of dancers flocked. Everyone wanted to work with him, he informed us. He began the session by walking down the rows of nervous leotarded ladies, glancing over resumes they were required to bring with them onto the dance floor, asking, "do you know who I am? Do you know what I've done?" He translated this for us: how could someone with her thighs possibly think she'd be good enough to dance for the likes of David Parsons!

My point here is that I've spent years since refusing to support a company led by such a person. I was put off by this show of self-importance from someone with whom I shared a passion. But then today I saw a recent post from the Fractured Atlas blog. And I wondered if it was possible that he and I shared a fundamental belief.

When asked what makes the Parsons Dance Company different from the others, the response was this:

David Parsons is intensely interested in connecting with audiences. He wants to create experiences that are accessible and enriching; exhilarating to the masses while making a deep, personal connection to each individual audience member. Parsons Dance is committed to building new audiences for contemporary dance by creating and performing American works of extraordinary artistry that are engaging and uplifting to audiences throughout the world.

I was surprised. I hadn't ever linked accessibility with the Parsons group. To me, the work too closely resembled classical dances that I believe have a tendency to distance the performer from the audience, creating an image of the virtuoso, not the "every man". But then I considered the numbers who are drawn to support the company. D.P. has performed in most major venues, filling more seats in one show than maybe all of my shows combined. So not only is he doing something right, he's doing it on a grand scale.

And so again I am encouraged to reconsider my own methods and successes. The title of the blog post detailing Mr. Parson's philosophy is this: "Parson's Dance is People's Dance". Really? Is this something he's learned to include in grant proposals to seem approachable and modest? Or does he really believe it as he creates new works, that the challenge is reaching the audience and making a connection? And what about his method is working? Maybe the public wants its dancer to be out of this world, maybe audiences don't want to relate to performers on the stage.

I ask these questions because it is important for me to keep improving. I want to know what the most well-known choreographers are thinking and why they make the choices they do. Because let's face it, if you have your costumes designed by a Project Runway designer, you've got something to teach me.

So even though the Big Man didn't pick me that summer to be his protege, I would be a fool to ignore his assertion that art can be accessible and entertaining without sacrificing artistry. This magic formula may just be what I've been striving to find. The question now is, what do I do with it?

Louisville, Why We Love You

2010-02-12T15:23:00.000-08:00

I haven't heard from local dance artists who attended the recent mayoral forum on cultural and the arts. I was hoping to get a first-hand account since I could not attend myself. But CJ covered the event and offered bits from the candidates. One I found especially interesting was Shannon White's idea of funding an arts organization's operational costs, like "salaries and utilities that may not be covered by arts grants." I also appreciated what seemed to be a consensus: arts programs in the schools need to be fostered, not eliminated. That the forum was even held speaks to Louisville's commitment to its arts community. It will be interesting to watch what happens next.

"Trio of delights" at Louisville Ballet this month

2010-02-11T07:29:00.000-08:00

Adam Hougland returns, this time with Amy Seiwart and Lila York for two nights at KCA. More info about "Three Reflections" can be found here.

Black History Month at Studio S.I.L.K.

2010-02-10T13:48:00.000-08:00

Classes, workshops, performances and dinner are features of the February 20th celebration. Visit the studio's website for more info.

Modern Dance + Bourbon Baroque = _____________

2010-02-10T13:31:00.000-08:00

I'm sorry to say I missed the latest Moving Collective performance, an experiment in collaboration that undoubtedly offered something fresh. And so I'd like to invite participants and attendees alike to comment here. We're getting more visitors to this site every month, so let's let them know what we're seeing, making, thinking.

Begin by listening to WUOL's podcast of the interview with MC and BB about the collaboration here.

Say Your Goodbyes

2010-01-27T09:36:00.001-08:00

Cunningham co.'s final tour

Arts Forum

2010-01-27T09:34:00.001-08:00

MAYORAL FORUM ON ARTS AND CULTURE
February 8, 6 - 8 p.m. at The Kentucky Center

co-sponsored by the Kentucky School of Art, the Arts and Cultural Attractions Council, Arts Kentucky, the Fund for the Arts and the University of Louisville

Organized by the region's arts and culture community, the debate will be moderated by David Cupps, Executive Director of Arts Kentucky. All Metro Mayor candidates have been invited to participate. The event is free and open to the public. Open seating and no tickets are required. For more information call 502-584-7777.

Meet the Candidates
Following the forum, a meet and greet with a cash bar will take place in the Kentucky Center's East Room

About the Forum
Louisville is defined in large part by its vital and thriving arts and cultural communities. Collectively, these organizations are one of the region's largest employers, one of its most consistent producers of tourist revenue, and a significant factor in Louisville's economic health. Anyone looking to lead Louisville into the next decade must demonstrate a vision for Metro Government's role in supporting and preserving groups dedicated to arts and culture, and to their unique places in our heritage and our future. The purpose of the Mayoral Forum on Arts and Culture is to focus attention on this critical aspect of our city in all of its facets - social, economic and cultural - as well as its importance to the growth and diversity of the region.

Baroque Music & Modern Dance

2010-01-20T07:54:00.000-08:00

Moving Collective, a Louisville-based organization designed to promote and keep contemporary dance alive in the Ohio Valley, and Bourbon Baroque, Louisville’s Period Instrument Ensemble, present an evening length affair of Baroque Music and Contemporary Dance. The concert, entitled “Something Old, Something New” will take place on February 6th, 2010 at 8:00 PM. Both organizations are proud to have chosen the newly renovated Ursuline Arts Center for this collaborative performance, which is located at 3113 Lexington Road, Bldg. #5 on the campus of Sacred Heart Schools. Tickets are $20.00 for adults, $15 for seniors, and $10 for students. Tickets are available by cash or check at the door. For advance purchase, please contact Tamara Begley or Austin Clark in the office of the Sacred Heart School for the Arts at (502) 897- 1816.

Fusing the unlikely combination of music from the 17th and 18th centuries with modern dance, Moving Collective and Bourbon Baroque will present 11 dances (9 premieres) choreographed by Louisville’s Theresa Bautista, John Cartwright, Joseph Cox, Kim Nygren Cox, Brian Grant, Marie-Elise Gates, and Jessica Underwood, Cincinnati’s Jeanne S. Mam-Luft and Virginia’s Danah Bella. The aforementioned choreographic works will be danced to music by Johann Sebastian Bach, Arcangelo Corelli, Christoph Willibald Gluck, George Frideric Händel, Jean-Baptiste Loeillet, Johann Pachelbel, Jean-Philippe Rameau and Antonio Vivaldi.

For this performance Bourbon Baroque includes:

Caroline Knight Drury, soprano
Nicolas Fortin and Rachel Blanton, violin
Rachel Gries, viola
Sarah Biber, cello
Phil Spray, violone
Sung Lee, oboe
Keith Collins, bassoon
John Austin Clark, harpsichord

Louisville Dancers Do For Themselves

2009-11-28T15:07:00.000-08:00

From time to time I search the web for updates, news, and recent links to contemporary dance happenings in Louisville. This search always includes the keywords "moving collective" because it is the longest-operating, most highly exposed, and most visible modern dance group in the area. Teresa and Tamara of MC were the first people I contacted when I moved back to the area and the group is one I work hard to stay in contact with even after moving away once more.

So when I spotted Andrew Adler's recent blurb using the company as a metaphor for, what he seems to say, is wrong with contemporary dance in Louisville, I took offense. This is why I have yet to respond here, an act I felt necessary. I waited because I knew that Mr. Adler was making an important point, even if too brief to do any good.

First, I agree that modern dance is under represented. But the trouble here is context. (This is actually my issue with the entire article, but more on that later.) If one considers the fantastic growth spurt that has occurred since 2000, one cannot deny that modern dancers are taking it upon themselves to make their presence known. Moving Collective, JanStreet Dance, Contemporary Dance Louisville, and my own company all sprouted in the last few years and we have all made a place for ourselves amongst Louisville's artists, art patrons, and general public. (There is also a growing group of independent choreographers making work locally.) The number of contemporary dancers who show up to auditions grows each year. And as Mr. Adler points out, Moving Collective's concerts illustrate just how many are interested in supporting modern dance. (I couldn't find a seat at the latest concert and sat on the stairs in the balcony to watch.) We are becoming more visible.

Secondly, while itt's true that we all make dance in our spare time, this is true of almost any contemporary dancer. Few are able to pay the bills from a dancers' salary. This is not unique to Louisville, but what is unique is that we don't expect anything else. We are happy to rehearse evenings and weekends. We expect to work hard for a thank you note post-performance. The resulting environment is one of support and encouragement, something that is truly rare and special in this field.

What Mr. Adler wrongly implies is that part-time dancers are of a lesser quality. But I must assume that he is comparing Louisville's dance companies to the few that visit the Kentucky Center each year, like Bill T. Jones and Mark Morris. What one must consider is that these are not the norm. Of the thousand modern dance companies in New York City, a few handfuls pay their dancers steady paychecks. Fewer of these provide a living wage. And so, in reality, the majority of modern dancers are part-time. This is simply the reality of our work. It is something you know going into it as a young performer.

I must protest, then, the implication that "non-full time professionals" lack something fundamental. Yes, one would agree that not all dancers seen on Louisville stages are seasoned. And yes, not all works are successful. (I know my own recent attempt missed the mark.) However, it is too quick a statement and too shallow an implication to ignore.

Having said that, it would be fantastic to have additional support from arts organizations in the city, even if as evidence of an awareness of our presence. We all talked about how the new Fund for the Arts space should have included a rehearsal space for the modern dance companies in the city. I even wrote Allan Cowen making an argument for such a move. (Of course, I received no response.) And I know that I am not alone when I say that I have reached out to countless galleries and other art spaces in an effort to engage them in performance collaborations. (Few have responded.) And so when Mr. Adler asks how the city can nurture small ensembles, I too find myself interested in the answer. He mentions 21C specifically. I know my letter and follow up phone calls were not the only ones they received. So what is it? I know it isn't the quality of work, as Mr. Adler seems to imply. For I have seen some truly unremarkable work produced in city spaces that have declined proposals from choreographers. Is it that they simply can't picture what dance will look like in their space? Is it that they don't get it? Are they not interested? Are we not stating our case plainly or strongly enough?

This brings me back to context. One cannot attempt to classify what we are all doing in the same way. What choreographers here are creating ranges from modern idioms born of the traditionalists to dance theatre, post-modern applications to contemporary ballet. Defining this genre of dance is something scholars and critics have attempted to do since the 70's, and as far as I know the debate continues. And so we cannot lump all modern choreographers into one little package underneath the subheading "Moving Collective" simply because MC produces shows yearly that contains most of the working choreographers in the area. We must also look at the other performances, traditional and alternative, that take place throughout the city. (They do exist.)

Contemporary dance, as it exists today, is full of a wide variety of mover and a wider variety of application. One will not see, at a modern dance concert, the same bodies seen in a Louisville Ballet performance. One of the most significant movements of contemporary dance was the abandoning of the facade during the post-modern area. Dancers were chosen to suit a specific end result, and this may or may not have anything to do with technical proficiency. Similarly, dance works serve very different purposes. (Again, some are successful and some are not.) But as I have said before, each work has to be viewed separately. Methodology and purpose are unique to each created dance, and we are not all working towards the same end.

We also must not hold MC accountable for the quality of work contained within their concerts. We are all individual artists with our own set of experiences and challenges, working to improve each go round. And although the directors require applications complete with video samples from each of us, they cannot know whether or not our attempts will be successful. They are merely acting as a support organization, acting in good faith in order to support fellow choreographers.

In truth, Mr. Adler makes very important statements about sex, structure, technique, funding, etc. without allowing for any real discussion. The resulting article, then, reads as a bashing of MC, even though he states this is not his intention. (Then why write the piece, I wonder. A bit more research and it could have been something else.) His argument in favor of the support of local modern dance is negated by his surface criticism. He states the problem is perhaps resources, but again, I must disagree. Bill T. recently asked "emerging" choreographers what their goal was. During his early years, the goal was to get produced, to be funded, to be able to work full time and fill large theaters. But what, he asked, was goal of young choreographers now that it has been shown "the big times" comes with its own set of problems. I answered that it has nothing to do with monetary support or large audiences. For many of us, it's the process. It's the hope of doing something new. Even if it's been seen before on some other stage, we are challenging ourselves to take risks, to act beyond our safety zone. Yes, we could all create works that mimic those that have already been well-received. We know the formulas that have been proven successful. But it has become boring to rework the same old piece. We're trying to experiment in an effort to find that moment of surprise, awareness, etc.

I believe that one of the problems is an ever-present comparison to the Louisville Ballet. It's what Louisville knows about dance and it's what is expected. Even mentioning the ballet in his article is a sign Mr. Adler cannot separate the two. But there is more. Much more that I can begin to articulate here. Perhaps I, then, like Mr. Adler, should allow for more space before beginning to tackle such an important argument. But I could not resist. Yes, Moving Collective's directors are my friends and I owe a great deal to them for introducing me to the dance community when I arrived n 2006. But mostly I feel Mr. Adler's article simply reiterated a fact that continues to fight any contemporary dance artist: those who are responsible for promoting our work don't get it. Context is lost and we are misunderstood.

The point is that we do need to try harder. We, the dance artists, need to better articulate our point of view and work to get out message out. You, the patrons, need to look beyond KCA for entertainment. And to the critics and arts administrators: get to know your "modern dance" community. Do not judge us based on one concert and do not compare us to that which has only the faintest relationship to what we do.

I realize at times I seem to contradict myself here, stating we are happy with our situation but asking for additional support. I do not presume to have the answers. And this is a conversation I have had on many occasions with fellow dance artists. It also dances around a question I've struggled with since my 20's: what is the point? Why are we making work and who is it for? So pardon my stream-of-consciousness dissertation. But I simply could not let the brief article go unanswered, as it struck at the heart of what we do, and it unfairly used a valued organization in our community as a punching bag for the sake of publishing open-ended questions about the state of dance in Louisville. Not cool.

Feel free to post your thoughts here.

Adler Review of Bill T.'s Visit to Louisville

2009-11-23T09:01:00.000-08:00

Click here to view the full article.

Louisville Contemporary Dance Topic of Local Blog

2009-11-17T12:38:00.000-08:00

Moving Collective was noted in WFPL's blog which includes a complimentary mention of the modern company along side noteworthy others. Check it out

Humbled by Audience at Latest MC Show

2009-11-12T07:35:00.000-08:00

A dancer friend of mine came to visit last weekend. She wanted to see my growing pregnant belly as well as the latest Moving Collective show. She and I met while dancing in NYC, and she is still working as a modern dancer there. She has seen more live dance than anyone I know, and although her taste is more traditional than my own, she is able to view any dance objectively, through the lens of an informed viewer and experienced participant.

And so I listen carefully to her feedback. Though, with any art form, reactions vary, we cannot deny certain facts. In order to create a complete work, we have to ask ourselves: have I, the choreographer, formulated a clear point of view? Am I using a movement vocabulary that successfully communicates this point of view? Is there a clear relationship between the movers on stage/between movers and audience? Is it well-rehearsed? (I could go on.) My point is that even though my reaction to a work may differ greatly from hers (or yours) we should be able to agree upon one thing: once we view a piece we should be able to determine whether or not the choreographer gave careful consideration to the work; were his or her choices deliberate?

And so my point: my friend said she was surprised to see so much aggression on stage. “Why must you all throw each other so violently around? What are you trying to communicate?” She went on to say that this is becoming more and more common in modern dance. Contact work/partnering has moved from the supportive to the assertive, and even at times to the painful. Elizabeth Streb, we discussed, made her dancers bleed and bruise for the sake of her creative voice. And I explained that I understood this movement, that it abandons the façade of dancer as muse, dancer as doll, dancer as object/unhuman. But, she repeats, what is the point?

I admitted to her that it was not my intention to create work that seem aggressive or angry. On the contrary, “Point of Contact 2: I move you” (which debuted at this latest concert) was my attempt at playfulness. To me, the two dancers yanked and pushed like my brother and I wrestled and pinched. It is harmless, affectionate play. But perhaps I play rough. And this was seen by her as combative.

And so I had to question my choices, especially after additional feedback confirmed my friend’s assessment: some viewers saw my brief but energetic duet as angry and violent. Even more surprising was the realization that a previous work, which I would label even more light-hearted and harmless than this most recent, was also perceived in this way. Am I angry, they ask. Of course not, I respond. Doesn’t this make you laugh? Because I’m in stitches!

Ah ha. And there is my great dilemma. In an effort to create something accessible, something that breaks self-imposed boundaries and challenges my creative mind to make something that isn’t just pretty, in my quest to truly connect to an audience that (I assert) we have alienated for decades, I have confused them. I have created something that is more off-putting than I ever would have guessed.

Having said that, I should also note that I stand by my decision to make this work. My works won't all be successful. But I made a deliberate choice to attempt to rethink composition and technique. And while I carefully considered each second, I also must remember that this work was offered at a public concert where audience members were required to pay to view this and other pieces. I must consider their experiences carefully and understand that the work must stand on its own, without the aid of post-show explanations.

What AM I saying, then. I answer my friend that my own goal is to continue to challenge my own participation in modern dance, to push myself to try something that may not work, to risk failing. Sure, I could make pretty dances that are pleasing or even evocative (although I have never been one to manipulate several bodies successfully on stage like some of my colleagues...perhaps my next undertaking?!). But why? Haven't you seen it before?

Yes, well, this brings me to my point. It isn't enough to have what I may believe is a great idea. It isn't enough to try something new. And it isn't even enough to push myself to the point where I'm nervous to show the work to even my most supportive friends. The lesson I learned: if the audience doesn’t get it, I haven’t done my job.

Oh, what is it all about...

2009-10-22T14:12:00.000-07:00

I’m preparing to show a new work as a part of Moving Collective’s upcoming show on November 7th. So I’m thinking a lot about composition, trends, techniques, the breaking of trends and challenging of techniques, etc.

I’m also reading a lot about dance: news, books, essays. And I see post-modern dance splitting in two directions. Is it just me? Am I oversimplifying, out here in the middle of SW Indiana, trying to make sense of the national and international dance scenes?

Because it seems to me artists are going one of two ways:
1.) Piggybacking on the experiments of the 60’s and 70’s, some of us are venturing further into the public realm, completely abandoning best-practices for marketing ourselves, getting grants, costuming works, etc. It is bare-bones and raw. Some are further shunning the theatrical setting by working solely for the camera, posting work for viewing online. (This is the road I’m traveling down, both by choice and necessity.)
2.) Others are heading back to the theatre (or perhaps never completely left) for grand displays of design. Collaborations with musicians are common, although the kind of musician invited has changed. Big sets have returned, more abstract, strange, silly, or innovative than before. I am thinking of applications like Terri O’Connor’s huge hot pink bow tied at the corner of the stage or Wally Cardona’s stage packed with long, thin, black boxes. And then there’s the costumery.

So what is happening? Where are we headed? The upcoming MC show will no doubt demonstrate a sprinkling of this, complete with appearances by gifted and respected dance artists and emerging choreographers. I am eager to see what my colleagues are creating. I’m more eager to know why they are making certain choices. What inspires, challenges, moves them? In what context are they making this work? How do we see ourselves, both as a part of our local dance communities and as a sliver of the greater picture?

I’d love to hear your thoughts.

I'm a mess

2009-09-18T13:30:00.001-07:00

For those of you who know me well, it will come as no surprise that I recently wrote here that I would be discontinuing the blog, yet have written here since! Yes, I am impulsive. And yes, I do attempt to simplify things by scaling back projects, responsibilities, etc. and then come to miss the buzz I get from the pace shortly after.

When Christephor of JanStreet Dance asked me if I was sure I wanted to stop writing the blog, I answered that I was busy, distracted by a new pregnancy, and too far from Louisville on a day-to-day basis to feel I had enough to share. But it occurred to me recently that, luckily, my friends and colleagues in Louisville remain important parts of my life and I have been able to continue participating now that I am over an hour’s drive away from them all. And I realized last night, while speaking to a woman new to the area, that I have developed these past few years a deep connection to the arts community there.

And so, again, perhaps I was impulsive? I do miss writing about Louisville dance. I have strong opinions (that may, at times, offend) but I like throwing them out there to you all. And I love seeing/hearing/reading what comes back. An open dialogue about the work we are making or viewing is healthy and necessary. And so perhaps I will keep posting here for now. So keep sending updates you’d like to see posted here, and feel free to submit your own strong opinion anytime.

Best, B

I know, I know...but it's Bill T.!!!

2009-07-30T06:11:00.001-07:00

Yes, my last post said I was abandoning my post here. But I just received KCA's new season schedule, and yea for dance! One of my favorite companies, directed by a choreographer who has been an inspiration to me, is visiting Louisville this year! Bill T. Jones is a legend. No, he's a god. He is the best example of thoughtful, thought-provoking, intelligent, informed dance-making. His work is not frivolous or redundant or self-serving. Have I sold you yet? Go see this company. My girl, Maija Garcia, will be performing and she is a great example of how sick his dancers are. Best of the best. Go! Go! Go! Let's show this company that Louisville appreciates our country's artistic gems!

Oh, yes. And Pilobolus will also be here. Less enthusiastic, however they are a world-renowned dance group and the more we show our support for these groups the more we will see dance artists visit Louisville.

Lastly, I want to just write here how sad we are to lose a modern dance pioneer, Merce Cunningham. The man continued to challenge the rest of us throughout his lifetime, refusing to rest on reputation and pushing himself and his company to imagine new possibilities in dance. I was fortunate enough to produce a show at his space in NYC. The place pulses with his energy, and I was starstruck for the third time in my life (other 2 included run-ins with Gregory Hines and Baryshnikov!) when I left his studio in an elevator he was occupying. I uttered something absurd, although he was polite. That evening I debuted 4 new works, 3 of which of choreographic disasters. I had worked to create something authentic, work that told my story and avoided the trends of the day. I was not successful, I believe, in pulling them off, although I was so pleased to hear Zapp and Roger blasting through the speakers of such a sacred modern dance venue. Ah, well. Lessons. But it is a happy memory. Merce will be missed. Will toss some coins in his memory...

If I'm Honest...

2009-06-29T17:47:00.001-07:00

I will admit it's near impossible to keep up with Louisville dance (in a timely fashion, at least) now that I'm in Evansville. I always thought one of the Louisville originals (Moving Collective, for example) would be best suited for this kind of info blog. However, when I have an idea, I don't sit on it very long. So the woman new to Louisville then quick to leave was attempting to keep up on the latest in the city's contemporary dance scene.

So this will be my last post, because in addition to being out of the loop (literally), I also leave very little time these days to write here. We will soon be welcoming a new addition to the family and I'm distracted by tales of fetal development and reviews of breast pumps!

Enjoy the summer and be sure to support local dance. And remember, there is other dance to be seen outside of KCA.

Flamenco, Ya'll

2009-06-10T15:43:00.000-07:00

Oh, yeah. One of my husband's best childhood friends is a flamenco guitarist, and when we visit San Antonio for the holidays, we go to watch him perform with other local musicians and dancers. Each time I am caught by the life, the pure and unedited emotion, that comes through those fingers, those feet. At the end of the evening I leave feeling more energized, humming tunes and curling hands, and (admittedly, don't laugh) a bit sexier.

And so I was excited to receive Flamenco Louisville's info about upcoming "weekend of activities" with flamenco artist Marija Temo. Something for everyone, it seems: demonstrations, performances, workshops...

Maybe I'll see you there.

Jan Street This Weekend

2009-05-29T05:56:00.000-07:00

Christephor Gilbert doesn't shoot for the same ol' ______. It's safe to assume, then, that this weekend's "Biography of Love" will offer the unexpected. Check it out at the Walden Theatre (1123 Payne St.). Click here for details and visit Gilbert's site for more company info.

Louisville Ballet sans Nutcracker

2009-04-18T12:44:00.001-07:00

I can't believe I've let weeks pass without writing about my experience with the ballet's recently performed Rite of Spring. I must first admit that I haven't been to a performance by our fabulous regional ballet in years aside from my annual attendance at the Nutcracker.

Wait, I have an excuse. I've lived out of the area for several years, and a christmas-time trip to the ballet was a tradition. My mom and I have been going together since I was lucky enough to have been a tiny soldiers and polichenelle as a young girl. I've enjoyed watching the cast of characters change, and I love that I still know the choreography. (Although, I am eagerly awaiting the arrival of the new version.)

I suppose I have been busy lately, because just as I forgot to sit down to write this, I nearly also forgot to go in the first place. I'm happy I made the drive from Evansville to Louisville for the Saturday gala performance. I didn't even mind the hours of back-slapping award presentations. In fact, I became more proud as the evening progressed that I was a part of the arts community in Louisville. I didn't mind the cheap-seat location I had chosen for myself, nor did I huff at the usher to leaned into me throughout the first act.

I will, however, skip right through that act, and the second. Of course, the dancers were lovely and the orchestra was, as usual, spot on. But it wasn't until Rite began that I was really excited to be there. I was surprised by the set, of course. I looked around at the families and grandparents near me. Were they disgusted? Confused? I did hear a few snickers. But as soon as the dancers began, we were all in it. I was sincerely blown away by their level of commitment to a movement vocabulary so different from what they typically perform. It was harsh and wonderfully ugly. I wasn't picking apart technique (as all dancers do) nor was I thinking of choices I would have made, instead. They had me.

Now, the choreography, while smart and engaging, was not unlike other compositions I've seen before. It was more meticulous formed than most, of course, but it was the performers themselves who should be credited for their balls-out translation. And I dare say that our adored Wendy W. wasn't even my favorite. In fact, I'll go on record as saying her portion felt short of living up to the corp's version, which was alive with a combination of form and abandon.

Moving Collective's Latest

2009-03-17T15:07:00.000-07:00

"Dividends" was MC's 7th concert in Louisville. Again they welcomed local choreographers while peppering this latest show with out-of-towners, new local faces, and premiering works.

The shows never disappoint. One of my favorites was Tamara Begley's group work which, as is typical for Begley, demonstrates smart dance making. The crowd favorite was, hands down, Theresa Bautista's Gamegirl. A woman behind me even shouted two "bravo"s, not something typically heard at Louisville dance concerts. (This is NOT because Louisville dance has not been deserving!)

dana bella offered another thoughtful post-modern work performed by a mover from her company, and she is quickly becoming one of my favorite contemporary choreographers.

Works from two Louisville Ballet dancers flanked the evening's works. And although movers exhibited skill and grace, the pieces' choreographic flaws were revealed amongst works by more experienced dance makers.

Regardless, it was another enjoyable evening of dance, which is no small thing.

Mark Morris in Louisville

2009-03-08T16:09:00.000-07:00

Louisville was lucky to have been visited by one of the most well-known, successful modern dance companies in the country. Mark Morris Dance Group presented three works this past Saturday, exhibiting Morris' signature intellectual approach to choreography, set to live music by the company's ensemble.

I anticipated their arrival because a few friends dance for the company and I was excited to see some of my favorite fellow dancers. I have seen the company several times before and, although one must respect the man's body of work and his near-perfect use of the traditional choreographic tools, the completed product is typically polished but predictable. I much prefer the rougher edges that are present when risks are taken and boundaries are pushed. But I understood the importance of their visit (it being their first) and was eager accept the complimentary tickets my dancer friends had to offer.

Once the performance was through, however, I found myself inspired by something other than the symbolism of their arrival. (Afterall, doesn't the near-full theatre signify the city's support of contemporary dance?) It was the strongest I had seen the company. It was the most complete cast of movers, each one more lovely than the next. They were perfectly rehearsed, flawless in execution, mature and confident. Overall, an exciting display of professional dance at its best. (I will be doing many push-ups this week as a result.)

It is no secret the group is not my favorite. M.M. is known for his bad behavior, assigning himself dictator when he could be mentor, which admittedly diminishes my enthusiasm for his work. But this was a rare evening. Perhaps it was the live music that enlivened the audience, myself included. Or maybe it was a bit of nostalgia, as I admit I have missed being immersed in dance since leaving NYC. Regardless, it was altogether quite a nice evening.

I'm looking forward to following up one great dance weekend with another this coming Saturday with Moving Collective's "Dividends". Check out their site for more info. Come support local dance!

Teaching Opportunity

2009-03-08T16:08:00.000-07:00

Southern Indiana Dance Academy is looking for educators. Check out their site here and contact them if interested.

Jeremy Williams

2009-02-09T18:06:00.000-08:00

Thanks to Christephor Gilbert we have learned just in the nick of time about a visit from Jeremy Williams. Visit his site for workshop/performance information.

what next?

2009-01-17T12:16:00.000-08:00

i've been writing since i started this blog that the louisville dance scene is exploding. of course, i don't take credit for this discovery. dance artists who were working here long before I moved back knew it was only a matter of time. nevertheless, i am excited. and so i repeat myself. i repeat myself because i am excited: louisville modern dance is exploding.

lots happening this season: contemporary dance louisville (herndon) is performing this weekend. christephor gilbert's janstreet dance will produce two shows this spring. moving collective builds upon the momentum of this winter's "v6.0" with another show this march. my own "point of contact" has been napping through the holiday but will return soon (details tba).

and so what else? one can never guess what this collective energy is capable of. one never knows what is around the corner. will those of us entering that mid-life period between "emerging" and "established" abandon our spirit of experimentation for tried-and-true applications that mimic our predecessors? will louisville, a unique city in a unique position to embrace its performing artists, increase its support and help our community become a destination point for young dancers? will we move full steam ahead, staying true to the supportive web of dance artists that has formed here?

we'll see.

Why "Contemporary Dance"?

2008-12-28T09:43:00.001-08:00

I have been asked this question by visitors to this blog and the subject coincides with how I manage the most common question I receive in relation to my creative work: "what is modern dance?" It is also the question I have come to ask my students the first day of my beginning modern technique classes. The assumption accompanying the questioning and the answer in response to my inquiry is the same: (imagine eyes closed, swaying, saying...) "It's like being a tree".

No doubt the public is now partly aware of "academic" or "concert" dance thanks to TV shows and a few famous performers. And this over-simplified yet fractionally accurate comparison to nature does represent a certain era of dance. However, many of my colleagues argue the relevance of the term as it relates to present work. Haven't we surpassed the "modern dance" of the mid-1900's (and "post-modern" dance of the latter half)? Isn't it misleading, inaccurate?

When I discuss my own work with interested audience members, supporters, or students I have to first inform them that "modern dance" cannot be defined today as it was defined by John Martin in the 1930's. Most of my colleagues were taught by a combination of the disciples of modern dance pioneers possessing codified techniques, by late-to-dance practitioners of martial arts and hip-hop, by performance artists and more. And so our work is not easily defined.

Thus, "contemporary dance". Perhaps not the best choice, I know. Modern jazz, lyrical, and ballet choreographers also use the term. And couldn't this also describe ethnic dance companies creating new work? It seems my choice is no less confusing than the former. However, I have chosen it with confidence, as it is the most wide-reaching I've found thus far. I am still searching for a more accurate description, but for now, I hope this terminology with suffice!

Adult Dance Classes, 09

2008-12-28T09:36:00.000-08:00

Here are some listings for local adult dance classes available in '09. Let me know if I've missed something:

Louisville Ballet

Moving Collective

Contemporary Dance Louisville, '09 Performance

2008-12-26T08:43:00.001-08:00

Kim Herndon's CDL kick off the 2009 season Jan. 16th with "Say It Outloud!" at 8 pm at the Clifton Center. Check out her site for more info.

Dance as Therapy

2008-12-16T19:22:00.001-08:00

This isn't a local story, but one worth reading. Click here.

One more argument in support of dance study

2008-11-30T09:29:00.000-08:00

For those of you who are arts educators, you are no doubt accustomed to defending the importance of arts education. Dance educators, especially, have had to argue the point, asserting the value of teaching motor skills, creative expression, impulse control, spatial awareness, and positive self-image.

I am currently teaching some very talented, ambitious high school students. They are beginning to think seriously about their college careers and some are already auditioning for college dance programs. While they are excited (and I am excited for them), they are also wrestling with parental concern. Mothers and fathers know I have other experience, as well, and that I am able to supplement my income as a choreographer with a "day job" and so they may be quick to use my path as support for their argument. This is done so by mistake, however, as I am the first to encourage young artists to continue their studies into adulthood. I have had an immensely rewarding life as an artist. And even though a college freshman may decide never to pursue a professional career in dance, he or she should not be denied the opportunity to study.

A recent article by John Killacky beautifully states the benefits of the artistic pursuit, relating lessons learned to a life outside of dance.

He writes:

Personally, dance gave me poise, self-confidence, musicality, and cultural literacy. I learned to work in an ensemble, as a soloist, or in the background. Improvisation illustrated how group wisdom was superior to solo problem solving. Choreography helped me understand gesture and spatial design. I was able to locate myself in the world. Through dance, I crafted an identity with other gay men as positive role models.

I recommend reading the full piece. Perhaps it will provide some support for your future discussions!

Janstreet Audition Workshop

2008-11-30T06:11:00.001-08:00

Christephor Gilbert, director of Janstreet Dance, offers a two-day intensive for performers of all levels that addresses Janstreet's approach to dance theatre and will include instruction in modern dance technique, vocal warm ups, contact/partnering work, ensemble work, and composition.

Workshop will culminate in a casting for the company's next performance season.

Sunday Dec. 7 and 14th, 11 am - 1 pm at Ellen's School of Dance.

FREE. Reservations required.

Visit www.janstreet.com for more information or call 650-270-9742

Exciting Time to Be Dancing in Louisville

2008-11-23T06:24:00.000-08:00

Gia Kourlas, for the New York Times (Sept. 05) wrote:

"The Web site of Dance/NYC (www.dancenyc.org), the local branch of Dance/USA, is full of bubbly messages about the glory of dance in New York. 'There's a reason why dancers, dance companies and choreographers from all around the world want to perform in New York City,' it says. 'Come in and find out why.'"

"In this day and age, such a hunky-dory outlook is not what the dance world needs. A truth must be faced before it's too late: New York is no longer the capital of the contemporary-dance world."

Now, Ms. Kourlas did not go on to discuss the growing dance community in Louisville, of course. But she could have been. I've mentioned before here that my peers in NYC still cannot believe I'm producing work and performing for other professional companies here. Most do not imagine Louisville a cutting-edge contemporary art community, even though the theatrical and visual arts have long been practiced locally by renowned artists. But it is getting easier and easier to convince them as I send e-postcards for upcoming shows, recite the growing number of movers participating, and note diverse groups in attendance.

Moving Collective's v6.0 helps to prove Ms. Kourlas' point: contemporary dance is exploding throughout the middle of the country. The November show included exciting work performed by accomplished performers. If it is any indication of what is to come, then we'll be seeing more young dancers choose Louisville as their home base. I am excited to be a part of this era, as it is obvious something is happening.

Several performances are planned for '09. Kim Herndon's CDL, Christephor Gilbert's JanStreet Dance, Theresa Bautista and Tamara Begley's Moving Collective, and my own Beth Rodriguez Dance Projects are, together, offering Louisville audiences varying, surprising, and relevant dance works. Check websites for info (links at right).

It's sure to be a big year for Louisville contemporary dance!

Upcoming Performances

2008-10-28T13:46:00.000-07:00

I touched on a bit in earlier posts, but here are some additional details about November performances:

November 1st, 7 pm at 6th and Oak

Beth Rodriguez Dance Projects performs its interactive trio, set to music by Rob Collier/Century of Aeroplanes. Dancers Kara Price, Tamara Begley (Moving Collective), and Beth Rodriguez perform "Point of Contact".

Visual artist Shannan Wells will show work and The Nannie Tharp Experience performs!

********

November 14th, 8 pm at the Clifton Center

Moving Collective presents v6.0, a collection of works by area choreographers and three out-of-towners. As usual, this will be an exciting collection.

$15.00 (check the site for details and discount information.)

2008-10-10T15:38:00.001-07:00

Theresa Bautista of Moving Collective was featured in a recent article. Check, check, check check...check it out.

Moving Collective v6.0

2008-10-06T13:25:00.000-07:00

Friday, November 14th 8 pm, Clifton Center

Visit Moving Collective's site for more info.

Featuring area choreographers and a few visiting artists. Moving Collective's sixth concert will no doubt offer a variety of contemporary work.

Moving Collective

2008-09-21T06:21:00.001-07:00

November 14th at Clifton Center! Check www.movingcollective.com for more information.

This concert offers works by area choreographers and promises to be another varied collection of engaging works for the city's performing artists. Come see!

The Glassworks Cancellation

2008-09-08T16:25:00.000-07:00

My apologies to any of you who planned to attend our Sept. 5 performance at Glassworks. Family came first last weekend, and although I would have loved to follow up our Mellwood event with a great downtown performance, my thoughts were elsewhere. We will reschedule our Trolley Hop gig and will still be performing Nov. 1 at 6th and Oak, which will certainly be a hoot!

Thanks for your well-wishes and see you soon.

Beth

A Little Perspective

2008-08-18T18:41:00.000-07:00

Time flies, and Louisville already feels like home...again. But as I prepare for another concert, meeting friends for rehearsals and listing new auditions/classes, I am reminded that I am still a newbie. There are educators, choreographers, and movers who have been working to further modern dance locally for years. These individuals have made the community familiar with contemporary movement, allowed for space within the art scene for our craft, and have made it much easier for me to move on in. I have been welcomed, encouraged, supported, and inspired. And so I feel I must recognize here that I do appreciate them. It has made my transition much more enjoyable and I love the work we are doing, collectively. Although I'm now splitting time between Louisville/southern Indiana and Evansville, I will always make the drive back to Kentuckiana. So thanks guys. You know who you are.

Fall Classes

2008-08-12T16:08:00.000-07:00

Man, the ladies of Moving Collective will be busy this summer: classes this far will be offered throughout the week in a few locations, peppered with a little Christephor Gilbert.

Check out their site for the specifics: www.movingcollective.com

we'll be everywhere

2008-08-08T14:41:00.001-07:00

beth rodriguez's new trio, "Point of Contact" set to compositions by Rob Collier/Century of Aeroplanes

these are free, public performances. come out and see us. we'll be performing as a part of art events in the city, so there's something for everyone. even your little brother.

August 29th, 8-ish

Mellwood Arts Center, courtyard

As a part of Frankfort Ave. gallery hop

Sept. 5th, 8-ish

Louisville Glassworks

As a part of First Friday Trolley Hop

Nov. 1st, 7pm

6th and Oak

with Shannan Wells, visual artist, and The Indicators

Check back for 2009 dates and locations

Moving Collective Audition

2008-08-08T13:30:00.001-07:00

Sunday, August 17th

2-4:30

USPA

Auditions for the upcoming concert scheduled for November, to be held at Ursuline School for the Performing Arts. Audition fee is $5 and includes class. RSVP if you plan to attend (email link at www.movingcollective.com)

CDL Debut Performance Features New Faces

2008-08-03T07:42:00.000-07:00

For those of you reading this blog, it is no secret that Louisville has much to offer in the way of dance performance. But for anyone outside of Louisville, I am met with disbelief when I note our city has four modern dance companies and a relatively large community of adult dancers.

However, even I was surprised to see several new faces on U of L's Playhouse Theatre stage. Many of these performers, as noted by the concert program, are students or recent graduates of YPAS (where director Kim Herndon is on faculty). Nevertheless, it was a nice surprise.

The evening featured 9 bite-sized pieces, 6 of which were choreographed by Herndon alone. The highlight of this collection was a thoughtful, unaffected performance by Katie Scott in Herndon's quartet "From Abeyance". A three-peat of Herndon's "Ripple..." series dotted the evening, and included modified versions of the same motifs, including stylized African dance combos that overpowered contemporary ballet movement increasingly as the series progressed.

Guest choreographer Meredith Simms (currently living in Lexington) offered a group work and Joyelle Fobbs, an accomplished performer once with Dance Theatre of Harlem, introduced two: the first of which was a spirited duet set to, surprisingly, a Fantasia Barrino tune.

Lastly, it must be noted that the dancers moved with fierce promise. As if this was the performance of all performances, each made effort to speak to the audience. (Although a distracting "sneak-a-peek" tendency was evident throughout: evidence of uncertainty or insecurity?)

It is also supremely exciting to be able to attend a dance concert in Louisville with friends, one that we're not performing in, working on, or producing! That's the beauty of this growth spurt. And I am happy to support my fellow dance artists.

CDL's program also notes future performances. Which means Herndon is looking for more dancers and collaborators. Interested? Contact her "ASAP".

Performance Reminder

2008-07-25T06:17:00.001-07:00

Next Saturday

Contemporary Dance Louisville

"the ripple effect"

8 pm

The Playhouse Theatre/ U of L

www.contemporarydancelouisville.com for more info!

Contemporary Choreographers at the Ballet

2008-07-08T06:13:00.000-07:00

The Louisville Ballet will feature a short run performance by three well-known contemporary choreographers this October. Helen Pickett returns with the company premiere "Etesian", and Lila York (of Paul Taylor fame) debuts "Celts". The evening is rounded out with Twyla Tharp's "Nine Sinatra Songs". (FYI: Tharp's newest work is a collaboration with Danny Elfman. The work is not yet named, but I'm guessing this will be her most interesting work in years as Danny is one of the most innovative composers alive!)

Details:

FALL II

October 10-11, 2008

Dance-Forms Productions, Choreography Showcase

2008-06-30T15:35:00.001-07:00

From www.danceformsproductions.com:

43rd International Choreographer's Showcase at Oldham County Arts Center, October 10 & 11th. Sample work must be submitted, and the entry fee is $100. This fee covers promotion, technical assistance, publicity, and rehearsals. This does not include transportation and lodging while in La Grange. Contact Susana Williams at danceformspro@aol.com for more info.

Yo Soy! Dance Project, Performance

2008-06-20T12:18:00.000-07:00

Tuesday July 1st 5 - 7 pm at Louisville Central Community Center (1300 w. Muhammad Ali Blvd)

Yo Soy! is a collaboration between Kentucky Center's ArtsReach program, Louisville Central Community Centers, Center for Women and Families, and dance educator Diana Dinicola. To feature live music by Flamenco Louisville. This is the culminating performance of flamenco workshops for middle and high school girls.

Contemporary Dance Louisville Performance...

2008-06-18T06:35:00.000-07:00

...has been scheduled:

"The Ripple Effect"

August 2, 2008

8 p.m.

University of Louisville/Playhouse Theatre

Tickets: $7 in advance/ $10 at the door

Visit www.contemporarydancelouisville.org for a link or ordering tickets online.

Nonprofit Job Resource

2008-06-18T06:21:00.000-07:00

Speaking to those of you who make the trip to the "Sunnyside" for work or play, I wanted to share a resource for job ops in the nonprofit sector. I've visited this site often and have found valuable information. For those of us who are artists and/or educators, it can be very difficult to locate job opportunities on those enormous job-search sites.

And so I recommend visiting IDEALIST.ORG as a part of your quest for interesting and relevant work. The site boasts many job links nationally, but also includes lists of non profit organizations by state, events listings, volunteer information, and much more.

However, Indiana organizations have not yet caught on, which means that Hoosier job seekers are not finding the information they need. (I support this assertion, as my job search after my move to Evansville has been increasingly difficult because I have to visit each nonprofit website each week for job op updates.) And so please help us strengthen our lines of communication by forwarding this to your friends and colleagues working for Indiana nonprofit organizations. Encourage them to utilize this service, increasing their visibility and bringing additional job seekers their way!

Note: I'm not getting paid to advertise for IDEALIST.ORG. I use the service often and was asked to help spread the word locally so that we can benefit from this site as much as possible.

Summer Dance Classes

2008-06-10T14:10:00.001-07:00

Moving Collective has updated its summer class offering, including some appearances by Janstreet's Christephor Gilbert. Check out their site for more information: www.movingcollective.com

International Dance Concert

2008-05-27T13:25:00.000-07:00

Mona Simone and the instructors of Studio Silk host a "journey of dance" that features multi-genre performances.

The Silk Road: An International Dance Concert

Date: Friday, June 13, 2008
Time: 8:00pm
Ticket Price: General Admission $15;
kids age 10 and under $5
Location: Eifler Theatre, located in the Clifton Center, on the corner of Clifton Ave & Payne St, one block from Frankfort Ave

I need to take class

2008-05-22T06:28:00.000-07:00

Although my MC friends along with Christephor G. have been teaching an adult modern class weekly, I have been unable to free up this day to attend. (I assure you it has nothing to do with Theresa's intimidating plie combo.) Some new faces have come to Louisville for the summer, and some of the local dancers have also noted we need MORE CLASSES!

If you've read previous posts, you know part of the reason I cancelled my own modern class was because of low attendance. But I may have a solution! I've spoken with some fellow dancers and teachers and found there are some of us willing to "chip in" for a community class, allowing us to teach on a rotating basis while avoiding having to fork over hefty rental fees each week. If you're down, let me know! (Yoga and Pilates instructors also welcome!)

Dance Summer '08

2008-05-22T06:26:00.001-07:00

In talking with colleagues and friends, it seems the summer of '08 will be a fantastic time for modern dance in Louisville. Rumor has it Empujon is returning this July (?) and Kim Herndon's company is kicking off soon, as well (see post regarding Contemporary Dance Louisville).

My series of monthly, public performances "Point of Contact" debuts July with a themed improvisational performance at Hidden Hill in Utica, IN as a part of their Jazz in the Garden event. Check out my site (www.bethrodriguez.com) for future dates and venues.

Janstreet Performance

2008-05-22T06:23:00.001-07:00

It's a-comin! Christephor Gilbert's MeX performance is scheduled for the first weekend of June and features some of Louisville's favorite modern dancers as well as a wonderful newcomer to the local dance scene. Check out his site www.janstreet.com for ticketing and schedule info.

Contemporary Dance Louisville, News

2008-04-29T10:13:00.000-07:00

First I have to make a correction to a previous post (sorry, Kim)

Kim Herndon's company website is www.contemporarydancelouisville.org (not .com)

Kim's company will be making their debut Aug. 2 at U of L's Playhouse Theatre. Auditions will be held May 17th at Absolute Dance/Mellwood Arts Center. Check out the site for more info.

Kim is also inviting artists interested in collaboration or seeking an opportunity to include work in her concert to contact her.

Links

2008-03-17T15:12:00.000-07:00

Great public performance: http://danceaday.com

Resources and links: http://www.nyfa.org

Just found: http://five0two.com/

Come See

2008-01-22T18:06:00.000-08:00

This spring will certainly be a fantastic mess of Modern Dance. About time! Moving Collective's show is scheduled for March 28 at the Clifton Center. I don't have the scoop on this season's participants yet, but I'm sure the MC site will update soon.

Christephor Gilbert's concert is also scheduled for June, I believe. Christephor's brilliant mix of post-modern movement languages and theatrical storytelling is worth the price of a ticket, at least.

I have monthly performances in the planning stages to be performed in free public concerts throughout Louisville and Southern Indiana. Check out my site for updates: www.bethrodriguez.com

Louisville Ballet's young choreographer's concert is also quickly approaching. (February 1 & 2. www.louisvilleballet.org) Last year this sold out so quickly I didn't get a ticket. I wish my student productions were so well received. I haven't had the pleasure of seeing this show yet. If anyone would like to send a ticket to me, I'd be happy to attend!

Kentucky Center is bringing some fantastic performances home this season, as well. Axis Dance brings new meaning to accessible arts. And I'm also especially excited about Noche Flamenca.

Lots to see this year. A little something for everyone. Feel free to comment here!

Performance Ops

2007-12-11T17:46:00.002-08:00

As I write this, Christephor Gilbert of Janstreet and Theresa and Tamara of Moving Collective are already casting their upcoming concerts. Hopefully you all had an opportunity to audition. I haven't heard anything recently about Kim Herndon's Contemporary Dance Louisville company and her 2008 concert. But I did visit her site yesterday and notice she is still posting her call for collaborators. Her site is easy to navigate and complete with impressive Flash gizmos. I recommend a visit. (www.contemporarydancelouisville.com).

Please add any additional ops here! Some of you have noted you aren't certain how to comment on these things. Just click "comment" and write away! Easy.

Classes

2007-12-11T17:46:00.000-08:00

Not too many options for adult professional dancers here! Of course, it would help if more dancers attended classes in order to keep teachers in business (eh hem).

Anyway, there is still one group offering modern technique classes. The trio that is Theresa Bautista, Tamara Begley, and Christephor Gilbert who rotate Thursday evenings at Studio SILK at the Clifton Center. I believe there is also a Tuesday a.m. class, but I'd check the Moving Collective site to be sure.

As for myself, I found adult non-dancers to be both more enthusiastic and consistent when attending classes, and this demographic has become my focus. So if you're reading this, you might not be interested in my classes, but feel free forward my schedule (from my site) to your aunts, moms, and high school girlfriends!

Anything I'm missing?

Misc.

2007-08-10T08:23:00.000-07:00

Dancers seeking some extra dough:
A university art teacher is looking for a model for her drawing class on MW afternoons from 1:15-4:15. She pays $10. per hour. Nudity required. Contact me if you're interested and I'll put you in touch with her.