29 January 2007
Dear LUTSF
I would like to take this opportunity to firstly apologise
for the late arrival of my report. Secondly, many thanks for my scholarship,
awarded by the committee of the Lisa Ullmann Travelling Scholarship Fund, which
enabled me go to New York
for three weeks and carry out a period of professional development in
summer/autumn 2006.
My experience was extremely
positive in a number of areas. As a performer I focussed on participating in
classes and workshops, where I learnt new skills, and how to then maintain
these in order to develop as an artist. I was particularly drawn to areas of
performance that involved a highly physical movement vocabulary and
equipment/structures to aid the choreography. I enjoyed the challenge and
excitement that this work gave my body physically and as an audience member.
Being introduced to the New York
dance scene, I met many fellow artists, and some who were experiencing the city
for the first time like myself. This was both
refreshing and educational as I learnt where we had similarities and how some
areas of our profession differ, but in a positive way. I would definitely
recommend a lot of pre planning, even before you’ve submitted your application.
Having a detailed schedule for when I arrived in New York enabled me to make the most of my
time out there.
From the numerous classes I
participated in, I am to adapt material for my own teaching practice, which
will reach degree level dance students, college students and dance
enthusiasts. I will also encourage
dancers to become more versatile as artists, and to make the most of any new
experience, which will only develop them further as individuals.
Please find enclosed copies of my
report. Many thanks
Kate Mason
Report: Kate Mason
Professional Development in New York
After experiencing a varied five
years working in the British dance scene, I felt I needed some new life
interjected into a career that I have always felt so strongly about, but that
had started to lose momentum. I began by researching
places of interest outside of the UK
including areas of Europe and Asia, but the one place which held my attention
the most and had given fellow dance artists so many positive experiences was New York.
Before I applied to the LUTSF I undertook
further research in to the logistics of my stay, which included my decision to
visit in summer 2006, and how I was going to create a three-week period of
professional development with the numerous resources that the city had to
offer. My priority for the three weeks was to develop my practical skills,
which would involve participating in classes and workshops and the possibility
of sharing creative ideas.
Whilst writing my application I
contacted some of the main organisations including Dance New Amsterdam, Movement Research
and The Field, which gave
me confirmation that the period I wanted to visit was going to be a hub of
activity for getting involved practically and observing work. After submitting
my application I kept thinking about the prospect of travelling to New York, especially
after my research had given me such an insight in to what the city has to
offer. Luckily I was successful and awarded a Scholarship to go there.
My next step was to put my
research into action, and so with the information I had received from
organisations, dance centres, venues and companies, I began to create a
detailed schedule for the three weeks. This might sound very over organised,
but with so many options I didn’t want to waste time wondering what to do on
arriving there. I also wanted to secure my accommodation for the duration, and
chose a hostel (Hostel International), which had good accessibility to central Manhattan and public
transport if I needed to use it.
On arriving in New York I was amazed at the immediate
impact the city had on me. Just entering Manhattan
in a taxi full of fellow travellers made me realise that my experience had
already begun, and I felt an urge to converse with these strangers as to why I
was here. During my time in New York
my schedule shifted in relation to what experiences I benefited from the most,
and resulted in me re-visiting some establishments rather than trying to
connect with a new place each day.
Dance New Amsterdam (DNA) (see
photo 2) was situated in lower Manhattan,
very accessible from the metro. As I entered the building I was initially drawn
to the space in which the studios were based and the extremely welcoming
atmosphere. My first class was with Stephanie Liapis
who focussed her session on challenging the dancer both physically and artistically,
whilst maintaining a sense of release and abandonment. The quality and content
of the class was in the direction that I like to be pushed in and after a
conversation with Liapis and fellow participants I
discovered that DNA was
going to be an integral part of my development in New York.
Oliver Steele’s approach incorporates yoga-based vocabulary
at the initial stages of the class. His final goal is to maintain a clear mind,
grounded crisp technique, and most of all a high quality in contemporary
movement as the body is getting exhausted. I also took class with teacher,
Heather McArdle. She looks at how to initiate
movement more efficiently with strength and clarity, whilst maintaining a sense
of freedom and individuality. Also combining off balanced
gestures, inversions and drastic weight shifts. It was pleasing and
refreshing to see similarities in the movement vocabularies of the artists at DNA and those working in the UK.
Steps on Broadway is based
west of Central Park, and was initially like stepping
in to a scene from American classic, Fame! It was only as I explored
the dance centre further that I realised the extent of their class programme. I
decided to sign up for a workshop with Batsheva Dance Company. The company is
based in Israel, but had
been performing in New York
as part of the Lincoln Centre Festival. On entering the ‘loft’ studio the
company had covered all mirrors and on looking windows. As the workshop
progressed I learnt how beneficial this was to their practice. It enables each
participant to perform the exercises fully without feeling any form of
self-consciousness. Gaga technique, developed by Ohad
Naharin, is the daily training of the Batsheva
dancers. Gaga works on multi-dimensional movement, the efficiency and texture
of the movement, the use of explosive power along with executing clarity and
building stamina. The use of gaga helps dancers to maximise the use of their
current technique and strengths, but also acquiring new ones.
This particular workshop concentrated on different
forms of improvisation lead by the company member. We shifted seamlessly, from
one exercise to another, exploring our maximum movement range in each task. To
bring the workshop to a close we learnt a section of repertory, which
emphasised the clarity of intention that is used in their work. Participating
in this workshop made me realise how complimentary this training was to their
work and building Strength and technique doesn’t always have to exist in a
traditional class format.
As I made my way to the Trisha Brown Dance Studios I
passed the very impressive Alvin
Ailey Dance Theatre establishment. I couldn’t resist having a look
around the building and also what their class programme had to offer.
Unfortunately there were no classes suitable, as the summer term had ended. At
Trisha Brown Dance Studios I was to take class with company member, Todd Stone.
We began the session by looking at the skeleton, and the natural function of
each joint in the body, which was our focus for the class. Maintaining this
intention with each exercise enabled me to generate the right amount of energy,
speed and dynamics, which were needed, without pre-empting movement. Taking
class here has inspired me to explore further this approach to movement.
Peridance is
situated in central Manhattan,
just next to Union Square.
The dance centre has an extensive class programme and is also home to the
Limon School. I decided
to take advantage of the Limon faculty, taking class with Geraldine Cardiel and Alan Danielson, who use the principals of
Humphrey-Limon. Cardiel works with fall-recovery,
suspension and expansion. The energy of the class was vibrant and supportive
and Cardiel would continuously challenge our
individual movement range. Danielson’s class combines a strong technical basis
with a focus on musicality and freedom of movement. After graduating from Laban five years ago, I have lost some of the fundamentals
of Limon technique so it was great to go back to the key elements of the
technique, and remind my body of how they feel.
I enjoyed moving with Danielson’s humanistic approach, which involves
rhythm and kinetics.
Streb, based in
Brooklyn, Founded by Elizabeth Streb more than 20 years ago, is a company that I have
followed since they appeared at the Barbican about seven years ago, and so
participating in some training with the company was high on my agenda. I joined
the Flip and tuck programme that ran weekly, lead by company member Fabio
Tavares. The class helps the beginner tumbler build strength, flexibility and
overall body awareness, which is then used to perform basic acrobatic tricks on
floor and trampoline. Streb
Laboratory for action mechanics (SLAM) was like a giant playground
to me, with various equipment including a human sized hamster
wheel, a tumbling floor, trampolines, ricochet walls and more! As a
performer I am drawn to challenging my body and stepping in to unknown
territory which takes me to extremes, and satisfies my need to push myself and
learn new skills. Taking class with Streb was a highly positive
experience, and one, which has changed my training and outlook on my
performance work for the future. I hope to be able to take part in Streb’s
future professional opportunities.
The summer months are filled with
opportunities to see live performance, and so having chosen August I was
pleased to see just how much was on offer. Prior to my visit I had researched
what was appearing at the various venues, which New York based companies were performing and
the outdoor spaces/structures that were being used to accommodate a variety of events. The Lincoln Center Out of Doors festival, which takes place
throughout the whole of August each year, had a programme suitable for all
ages, which included dance, music, puppetry and circus. My first experience
was, We B Girlz, ‘All
girl poppin’ lockin’ breakin’ hip hop challenge (See photo 1). Whilst sat
there, enjoying the battle I realised one of the guest ‘B Girlz’/
judges of the competition, was staying in my room at the hostel! The event
proved extremely popular with the locals, especially when the New
York City crew won the final against Philadelphia. The atmosphere was electric!
The following day I managed to catch a colourful and energetic performance by Nii Tettey Tetteh and the Kusan Ensemble, ‘Gutsy Ghanaian drumming and dancing’. Wire Monkey Dance was a company that I was excited
about, even before I’d seen them perform. Whilst observing tall scaffolding
structures, and various walk ways which connected them, I could sense that Precarious was
going to inspire me. After being transfixed for an hour by gravity defying
choreography, with an extremely physical content, I knew this was a company
that I wanted to learn more about.
I approached Jennifer Polins,
Co-Director and choreographer to find out more about the company and possible
opportunities to undertake training with them. Another great event that
featured at the Out of Doors festival was Dance Off! Happy Hour. The evening was hosted by Terry Dean, Associate Artistic
Director of Streb,
and Katie Workum. The programme included work from
the following artists/companies: Big
Dance Theater, The candidatos,
Keigwin and Company, Young
Dance Collective, Battleworks dance Company, Ivy
Baldwin Dance, Ryan Bronz, Terry Dean and Katie Workum. This
event gave me an insight into the kind of dance work being created throughout
the city and I found it both refreshing and exciting to see the variety of work
being produced.
Lower
Manhattan Cultural Council presents Sitelines each summer, in association with the River to
River Festival. As part of their summer 2006 programme they had invited H.T
Chen (H.T Dance Company) and Sharon Estacio to work
in collaboration on new site-specific work to be based around the Pavillion in Columbus Park. H.T Chen’s choreography Oasis and work by Sharon Estacio entitled Eat,
Sleep, Swim…Fly…Crawl (see
photo’s 4 and 5) was scheduled to appear at the park over the course of one
week. The two choreographers had used their environment well and the experience
of collaborating together appeared to add a whole new angel to their work. ‘I spent a lot of time in the park during
this process, and investigated the different way’s people would let go of
anything external… like shedding skin’, (Estacio,
2006).‘This was also my
first time collaborating with another choreographer during the creation
process, which added a whole new, interesting element’, (Chen, 2006).
The residents of China Town
mainly used the pavilion in Columbus
Park. It was fascinating
to see how they responded to the dancers, who were in a sense invading their
social space. They looked intrigued by what was happening and enjoyed close
proximity between both them and the performers during certain moments in the
choreography. It was exciting to see how this public space had been transformed
in to a venue for performance, but could also revert back to its day-to- day
purpose. Lower Manhattan Cultural Council had also commissioned
Ellis Wood Dance to create
a piece for the Sitelines festival. Fire on Wall Street was performed
on the outer balconies of the landmark Cipriani
Building, located at 55 Wall Street in New York city (see photo 6) and
attracted many Wall street employees. I thought it brought a fresh and vibrant
energy in to what can feel like a very closed off and work driven environment.
Central
Park held it’s annual festival, Summerstage, which begins in June and runs until
September. Urban Bush Women and Creative Outlet Dance Theatre of Brooklyn (see
photo 3) were just some of the companies appearing in the festival line up.
Sharing a blanket with some fellow dance enthusiasts, on a hot summers evening
in the centre of Central Park, was one of many moments, which made me
appreciate the opportunity I’d been given! Creative Outlet Dance Theatre of Brooklyn began the evening with a
selection of their exuberant and highly athletic dance, then Urban Bush Women completed the
programme with a piece entitled, Walking with Pearl
… Africa Diaries. The content of this particular work
was strong and very moving, and it was obvious that the dancers had completely
immersed themselves in the choreography.
Amongst my experiences at the many
programmes on offer in and outside various spaces in New York, I visited the prestigious New York
State Theatre where the Mark Morris
dance Group was performing as
part of the Mostly Mozart festival. The shear scale and design of the New York State
Theatre was breath taking, and I hadn’t even sat down to watch the
performance! As always the Mark Morris Dance Group had outstanding musicality, as
they performed to the Mostly Mozart
Festival Orchestra, and the clarity executed in each movement was simply
stunning. As you can see I was very impressed! The variety of performances,
ranging from size, venue, style and location Seem to be squeezed in to each
area of New York, forever bringing new inspiration to this city of culture.
My experience in New York gave also me an opportunity to meet
fellow performance artists, which happened on a daily basis! It was so
refreshing to hear how professionals survived in New York as either a freelance artist or in
full time employment. There were lots of similarities in how we schedule our
work, which includes a mixture of independent projects, teaching and
performing, with many artists also learning how to lead yoga/Pilate’s classes
in order to extend their CV and to supplement their income. Some of the
contacts I have made include possible choreographic opportunities, venues to
platform choreography and artists interested in making collaborative work.
Travelling out to New York instilled my
drive for dance and the surrounding art world. A simple change of environment
made me realise the extent of opportunities that are out there, and excited
about a future filled with learning more about my profession. I have also taken
on board certain establishment’s approach to teaching and I’m looking forward
to adapting some of the class material I learnt for my own teaching practice. I
have also included a list of recommendations on my company website, (www.mobiusdance.com). See the ‘news’
page!
