—- Natosha and I have been working together as choreographers for over seven years and one of the most common questions we get asked is, “How do the two of you work together?” Many people assume that when we work, one of us takes the reins and does the work while the other person steps aside. While on a day when one of us is exhausted this MAY happen, the majority of the time we work in tandem. Every decision, every movement, everything you see in the finished product is discussed and agreed upon by both of us.

On a good day, Natosha and I are so in sync that we can finish each other’s sentences. On a not so good day, we don’t see eye-to-eye on something and we talk it out. It has taken us years, a lot of fights, and a lot of hard work to learn how to communicate clearly and openly with each other. We have spent countless hours building trust in each other and talking about ‘how’ we work best. We understand that, to collaborate, you must be able to honor your partner’s ideas and still be allowed to add your own element. You have to be patient and be willing to explore EVERY idea imaginable. We understand that you have to trust your partner’s passion and excitement when they are really sure of what needs to happen next. You have to agree that nothing is precious or special… we are only creating dance steps! You should never go too long without checking in with each other and when you disagree – and it happens all the time – you don’t give up. You don’t get offended, you don’t let your feelings get hurt. Talk and work things out together.

Over the years, we have been able to work this process into an art form all its own. Working with RDT was one of the smoothest and easiest processes we have ever experience. We were on the same page most of the time and we were able to communicate with such ease when things weren’t clear.

—– Most choreographers I know work out ideas, plans, spatial movements on paper before they get into the studio with their dancers. There’s nothing wrong with that – in fact, I think it makes a lot of sense. But Natosha and I don’t plan things ahead of time. We will talk about the basic ideas of the piece, the style of movement, and we ALWAYS have some kind of music before we start a dance. But beyond that, we often times walk into a rehearsal knowing just as much about the piece as the dancers.

Natosha and I believe that working in a spontaneous and unplanned manner allows us to create movement and dance that is honest and real. When we plan things too much, work things out on paper, or get our creative ideas too ‘set’ in stone, we miss out on the honesty that is so important to us. Many of our best ideas have ‘popped’ into our head when the dancers are standing around waiting for instructions. Some of our best ideas come from watching our dancers mess and joke around with the ideas we have given them. (We’ve warned them, “Don’t do anything in rehearsal that you don’t want on stage!”) By keeping things open ended, we are allowed hundreds of possible options. Of course, our piece is guided by some of the basic information we discussed before hand, but the details are up in the air.

Working in this fashion does have its down fall. It leaves room for a lot of different ideas and directions. As choreographers, it is our job to make sure everything ‘fits’ together the way we want it. We ask ourselves all the time “Does that section really fit with the flavor of everything else?” Natosha and I have worked very hard to not be ‘precious’ with our ideas and movement. Nothing we create is going to cure cancer or solve world hunger – so we don’t need to pretend that something is SO important that it can’t be edited, changed, or cut all together. We are only creating dance steps and if they don’t fit with the general outline – they are gone. We can always video it and save it for a new piece at a later date!

At the same time, we may find that while working, the general idea we had isn’t the right one. In that case, we let go of the guiding ideas we started with and just create, without thinking or concern. Our only mantra, our only guiding principle that remains throughout EVERYTHING we have done is: do something different. We don’t always succeed in that, but we try our best to keep it at the forefront of everything we do.

—– Natosha is one of the most interesting movers I have ever come across. Her ability to move her torso in many different directions at once is astounding. She has an AMAZING sense of rhythm and a great sense of gesture that combine to make, what I consider, a stunningly unique movement vocabulary.

If I were to characterize my own movement style, I tend to be angular with lots of slicing arms. My movement is sharp with cutting edges and lots of back articulation. I like full bodied movement that sustains, falls, and rebounds. I don’t think my movement style is as great as Natosha’s but, together, I think we have something very unique.

Our combined movement style demands a tremendous amount of back articulation. On top of all that, you have to be rhythmic, quirky, sharp, and ferocious with your arms, legs, and torso. At RawMoves have coined the term ‘monster’ to describe the way we like to move. You have to move like a monster: you have to be so big with some movements that you feel ugly. You have to attack a movement phrase with such gusto that you look like a monster on a rampage.

We push our dancers to do things in this way because we believe that the physical body, and the extremes you can take it to, has the ability to invoke an emotional experience. This is very different from acting with gesture, the face, eyes, or the voice. It requires the dancer to push themselves to the limit of what they can do. It requires them to move to the extreme of whatever quality we ask. This isn’t always easy to do. So much of our dance training is about being efficient and precise. We spend years working to strip away the effort of what we do, to make it look easy. All that training is very important and is necessary for every dancer to experience; however, we like to see the effort, the sweat, and the monster in each of us.

As much fun as the Charette fundraiser is (and I can assure you that it is most certainly fun), there is still a level of trepidation as you attempt to make a decent piece of art in one hour. As a dancer in the event, your worries reside in remembering what you have just learned and performing it with gusto. As a choreographer for Charette, you hope for a moment of artistic grace and to not leave the theatre with too much embarrassment. As usual, I was thankful to have Aaron at my side. We learned a few things that night that I can share with future Charette choreographers.

1. This will be one of the fastest hours of your art-making life. Do not hesitate, yet proceed with caution. You do not have time to make edits to your work, so the path which you choose to pursue had best be a good one.

2. Come up with an ending first. As Doris Humphrey (and every choreographer since) has taught us, every good dance has a beginning, middle, and end. The ending of your piece— or the lack there of— will linger in the audience’s mind like a beautiful aroma or, as was our case, a giant ephemeral question mark.

3. Plan your outfit accordingly. It is important to look snazzy, as this is always a night to remember. However, after making your starlight introduction on the stage, you will most likely be rolling on the ground, manipulating props, and sweating on a studio floor.

4. Invite as many friends (and even acquaintances) as you can. Hint: you win by having the most votes and money cast in your favor. Choreograph a masterpiece, but seal the deal with the funny money.

With RDT celebrating our 45th birthday, Charette seemed the perfect birthday party.  To celebrate, we invited some of our amazing alumni to be guest choreographers.  Angie Banchero-Kelleher, Todd Allen, Michael Kelly Bruce, Kim Strunk, and Brent Schneider took the daring leap and helped us out.  It was a wonderful evening filled with odd ingredients (on dance used food), messy clean-ups, and lots of laughter.

The pictures below show a glimpse of the evening.  There are some pictures of our wonderful guest dancers, some pictures of the choreographers, clean-up, and every year RDT performs something from our repertory.  Last year we did Dance for Two Amry Blankets by Shapiro and Smith.

You can tell from the pictures that everyone is have a great time – especially Aaron!  Check out his HUGE smile as Nathan is in the air doing a toe-touch.  Enjoy!

[Show as slideshow]

This year RDT will be ‘Charetting’ (that just sounds bad) on February 11, 2012. We’ve been doing this every February (one year in March) for the last six years. This year marks our seventh Charette and it is sure to be the best one yet! Each year we take what we loved about the past and add some new elements, making each event better and better. It’s a night of irreverence and creativity that many people have said is the greatest party of the year.

Since this blog is all about exploring what RDT and the dancers do behind the scenes, I thought it would be a fun idea to explore Charette from some different viewpoints. Over the next couple of posts, you’ll get an idea of what make this yearly event so much fun. We’ll talk with past participants, dancers, the planners and the organizers. I’ll see if I can track down any pictures or video and, hopefully, I’ll be able to stoke your excitement to such a level that you’ll get involved this year. And there are tons of ways you can get involved – we’ll talk about those as well!

The idea for Charette started on I-80… in the middle of a massive construction project. Three dancers were stuck in a car going somewhere – well, we weren’t moving at the time, traffic jam – but you get the idea. As dancers tend to do, we were passing the time talking about dance. If memory serves me, I was sitting in the passenger’s seat, Nathan was driving, and Natosha Washington was in the back. Amidst our discussion, I said, “Wouldn’t it be fun to do a dance version of Iron Chef?” I explained that there would be a secret ingredient and a bunch of choreographers. Each choreographer would get an hour or two and they have to come up with a dance based on that secret ingredient. They loved the idea. I think we spent the next ten minutes brainstorming possible secret ingredients… text, partnering, cannon, etc. It made the traffic jam thoroughly enjoyable.

Cut to a few weeks later, at an RDT lunch meeting, Linda asks the dancers for ideas about a possible fundraiser. What could we do? Well, for some reason, I opened my mouth and shared the Iron Chef idea with the group. Linda liked it. The dancers liked it. Everyone got excited by the possibilities… just as we had in the car. Who would we pick? Wouldn’t so-and-so be great!?!? What would we make them do? Well, Charette was born. While we started to call it Iron Choreographer, we felt that a name change was needed due to copyright concerns with the Food Network’s Iron Chef. Josh suggested the name of ‘Charette.’ Once he told us what it meant, we all knew it fit perfectly.

From the beginning, Charette was filled with possibilities. As the years have proven, we have a basic formula that can be tweaked and changed in any manner of ways to offer new experiences. But no matter how we change the small details or the elements, Charette always has a buzz and excitement that everyone loves.

I hope the next few posts will stoke your excitement for this event and will get you to come out an join us on Feburary 11, 2012 at the Rose Wagner Performing Arts Complex.

]]> http://rdtutah.org/blog/?feed=rss2&p=831 0 http://rdtutah.org/blog/?p=861 http://rdtutah.org/blog/?p=861#comments Mon, 16 Jan 2012 15:48:09 +0000 Nick http://rdtutah.org/blog/?p=861 The RDT dancers are excited to be experimenting with a LIVE blog.  What you see below is a real time document created by the dancers during rehearsals with Nick and Natosha during the two week creation of ‘What You Leave Behind.’

Using words, impressions, thoughts, images, and video we hope that this virtural document will show you a behind the scenes glimpse of what goes on in the studio each day.  We welcome your thoughts, suggestions, comments, and feedback.  Please use the comment section at the bottom of this page to communicate with us.

Later on this week, you will even be given and opportunity to have something of your own included in this new work.  Please check back often to see updates and help us spread the word about this new experiement.  Enjoy!

A LIVE blog is an electronic record made up of small, byte sized bits of information, pictures, videos, impressions, and thoughts that are recorded over time. Usually, LIVE blogging is done in relation to an event; for example, today, EW.com is LIVE blogging during the Golden Globes. By its very nature, a LIVE blog includes elements of time, progression, and change from moment to moment. Small moments are recorded and documented. The minutiae of a larger event slowly build up over time to create a chorological record that others can view and follow.

While most instances of LIVE blogging seem related to Apple announcements, TED conferences, and awards shows, my greatest interest in this kind of virtual, time based document stems from the work of Imogen Heap.

Always an artist to try something new and different, Imogen is currently working on a new album but following a very different kind of process. She works for periods of three weeks at a time, spaced out over the length of a year. During these three weeks, she focuses all her attention on the process of writing, recording, and releasing a new song. During these three weeks, she LIVE blogs about the process using tweets, Face Book status updates, and numerous live streaming websites in an effort involve her audience in the creation of the new song. We get to hear a few snippets of lyrics. We see her debate a chord progression. We watch as the song she is working on changes, slowly, over time. In no small way, we become part of the creation process and are even encouraged to leave comments, ideas, pictures, etc. that she may choose to use in the new work.

In a world where every mundane act of every pseudo-celebrity gets documented on Twitter, why go this route? Do people really care? I think they do, because, while Jessica Kardashian Simpson Hilton and her new boyfriend really don’t offer much other than scandal, the creative process is still a huge mystery. I watch Imogen create her new songs because I am interested in seeing her process. I what to know how she does what she does.

A LIVE blog offers an opportunity to see the creative act; to watch the genesis of something new.  As a viewer, I am fascinated by watching and following an artist’s creative process. How do they make decisions?  Where do they get stuck? Do they struggle to get things done or does it all flow easily? By watching, I learn something about the creative process and become aware of new ideas and ways of doing things. But, as an artist, it also offers a unique opportunity to pull back the veil on your own work, invite your audience to the table, and show them what you do, how you do it, and what it is all a about. It breaks down barriers and allows for a new relationship to be born between the artist, the art, and the audience.

It is this kind of relationship to the audience that RDT is interested in exploring. The first step is figuring out if we even have an audience that is interested in this kind of relationship. Do we have patrons and friends that will join us online and follow along as we create a brand new work? Can we create greater interest and buzz about a piece by letting people ‘behind-the-scenes?’ Will our audience interact with us as we create something new, lending their ideas, thoughts, and suggestions?

The ‘What You Leave Behind’ LIVE blog is a pilot project to answer some of these questions. I hope you find the process interesting and stimulating. I hope you will share your interest with others. This project will only be successfully if people really do follow along!

What was something you loved about Snapshots? Or a fond memory of our last show?

Although my role in this show was small, I was delighted to see dance being used to help educate and inform the SLC community about a very important environmental issue.  I believe ‘Snapshots’ is the perfect example of why the arts are necessary in our school systems and needed for a society’s growth and development.

Several of my highlights from the show included: Nathan’s ‘Toxic Boogie’ (which always had mesmiling in the wings) along with the delightful experience of working with youth from the SLC  dance community. Their enthusiasm for movement was contagious and helped boost the entire companies moral. In fact, I believe that it was the synergy of RDT’S artistic collaboration which caused ‘Snapshots’ to be s success.

What is your favorite thing about the Holidays?

Despite the chaotic frenzy of gift giving, tree trimming, and menorah lighting my favorite thing about the holidays is the opportunity we have to say, I LOVE YOU to those we cherish the most.  As much as I love baking with excess amounts of cinnamon, nutmeg, and vanilla, watching ridiculous holiday movies, and making houses of ginger bread the best part of it all is sharing LOVE with family and friends.   This year, I am grateful that I am close to so many of my loved ones to celebrate the season in all its chaotic frenzy.

A brief reflection – look back at the 1st half of our 46th season. What do you think so far? Does anything stick out? Are you excited for the rest of the season?

As my first year on the company it has been a delight to work with such mature dancers and artists.  One of the highlights of RDT’s 46th season, for me, was working with Patricia Lent.  I thoroughly enjoyed coming to a better understanding of the CunninghamTechnique, and the genius of Merce’s work.  His architecture-like technique was not easy to achieve; however once my muscles began to remember his movement vocabulary I found it highly rewarding.

Along with the technical challenges of Merce’s technique I loved learning more about Cunningham’s choreographic process.   When observing art I love being able to see the conscientious and calculated choices of the artist.   Merce’s work is full of multiply rich meanings, which makes his work a timeless voice for change and innovation. I felt that starting off our season with such powerful choreographic voices was a wonderful addition to the Salt Lake arts scene.

With three months left in the season there is still much to be done and I am excited to start working on new pieces.  I particularly look forward to seeing what Nicholas Cendese and Natasha Washington create on the company for our March show.   RDT is an amazing company comprised of amazing dancers and I feel blessed to be a part of their 46th season.

I can’t, in recent memory, remember a crazier time of year. Last year was a breeze. But this year’s holiday season seemed to approach and rush by at ever increasing speeds. It seems so crazy to me that I’m sitting here only a day away from starting a New Year. Wasn’t it just last week that Snapshots ended! Where has all the time gone? I haven’t relaxed or slowed down once!

When last I seemed to have had my head on the right way, we were all taking about Aaron’s trip to California for Thanksgiving in the dressing room back stage. Rosy was traveling home, I was making side dished for our turkey dinner and we were all ready for some time off so we could recover from a busy week of kid shows.

My holiday season kicked off when Nathan and I went and picked out the perfect tree. We added gold ornaments to our already red and silver tree making it, in our opinion, even more spectacular than year. The holiday got into full gear with Miss Margene’s Nutcracker. This 20+ year tradition usually takes place the first or second week in December and is EPIC. You can’t really believe it until you see it. No matter what is going on in my life, it’s always wonderful seeing my students on stage, watching the little 2 year old teddy bears bounce around and the Peppermints link up their candy cane striped hoola-hoop props and slide in a circle to wild applause. That’s a really hard trick to do when your three years old!

We decorated the house – well, we decorated the piano since we are lacking in good decorating surfaces. I started making caramels like crazy. I visited and helped my grandmother when I could (not as often as I would have liked). Nathan went home for two weeks to visit family. I worked my first holiday season in retail and the days plugged by. Each day I had to pick something to do: bake shortbread in the mornings, wrap caramels in the afternoon and of course, straighten shoe boxes at night.

The dogs didn’t really get what was going on. They seemed neglected while Nathan was gone but very happy that there was no snow on the ground. They watched as I washed dishes again and again, cleaning up after my holiday projects. They walked between my legs hoping to get a bit of dropped pecan or sugar. They slept with me at night and kept me company while Nathan was gone.

Amidst all this, RDT got wonderful publicity from our great Congressman Matheson and made the front page of the tribune thanks to our EPA grant.  I wrote a few lesson plans, went to a few meetings and started planning out the piece Natosha and I get to create on the company in January.

I made Lemon-Ginger marmalade and Jalapeno-Pomegranate Jelly. And, at Nathan’s request, we made homemade Limoncello. After carefully peeling 15 lemons, we let them sit in vodka and Everclear for two weeks. Add simple syrup and more alcohol and the recipe ended up making 19 bottles. It was very fun to have something like this turn out so well. Next year, we want to try grapefruit!

But now, after a wonderful Christmas and uneventful Channukah, I’m tired of making caramels and shortbread. All the jelly has been given away and we are down to two bottles of Limoncello. Our tree has not only died but sagged to such a degree that the ornaments are falling off.

I’m finally starting to think about next week when we go back on contract. We’ll be working on Time Capsule and the EPA lec/dems. I still haven’t updated the blog as I had planned, but at least now you know why. I’m just excited to get back to work so my schedule will be full and I won’t be going in a hundred directions at once. I’ll be doing one thing and one thing only and I can FINALLY slow down!