Choreography Project
The Glenda Brown Choreography Project concluded on August 5 on the campus of University of Missouri Kansas City (UMKC). A showcase performance offered highlights of an extraordinary experience for dancers and choreographers.
The challenging two week schedule began with a morning ballet class. Each day in the late morning modern or jazz technique class was taught followed by the other technique after lunch.
Morning sessions between the choreographers and the directors of choreography and music covered assignments with selected music. By noon the choreographers had discussed and analyzed their assignment, which could include a theme, space restriction, technique selection, use of costume/prop or collaboration between choreographers. The Directors also assigned the dancers for each piece.
Choreography assignments could be for a solo, duet or trio, for four or five dancers or a group of eleven. At 2:45 P.M. the choreographers would begin work with their dancers. The session ended at 5:15. After the dinner break, a quick review of choreography was followed by spacing rehearsal on the stage. The evening's performance lasted less than one hour. Then the dancers spent time with one of the teachers for evaluation, observations and questions while the choreographers gathered under the guidance of the directors of choreography and music for reflection, communication, critique and encouragement. Only at the end of the evaluations did the choreographer reveal the day's assignment to the assembled group. Sample comments included,
"You really nailed that" or "that's what I thought" or "I did not get that at all but I loved your concept" or "I liked the way your movement worked with the music."
The experience for the dancers offered opportunity for creative input and to learn to be the instrument for a new work. With the short rehearsal period the retention of choreography was similar to a musician working on sight reading. Imaginative use of rehearsal clothes resulted in clever or minimal costumes.
Choreographers worked from bare ideas, listening to their familiar or unfamiliar music with fresh ears. They experienced choreography as a craft which can translate to opportunities with their own students or companies. Creating dances can be inspired creativity or journeyman work. Not every dance has an "Ah ha!" moment. Working this quickly and frequently for two weeks pushes the choreographer out of the comfort zone of making movement and steps.
Within the dance world each piece or each job presents different parameters - budget, skill level or technical training of the dancers, time limits. If the choreographer is working for someone else, the expectations of the director, musicians or board of directors have to be considered. Is the presentation in a theatre or in an outdoor situation? All of these issues are addressed.
Dancers were from several states including Washington, Kansas, Missouri, Texas, Ohio, Oklahoma and California ranging in age from 13 through high school. Ashley Moore from Ohio was injured at the end of the first week and observed classes and rehearsals. As a first-time participant, she said that she did not realize how intensive The Project was.
"I expected a massive workshop and I found instead that every teacher would focus on each individual's need." Ashley found challenge and fun in seeing the links within the different techniques.
Glenda Brown, founder and director, is Artistic Director of Allegro Ballet of Houston and Director of Young Tanzsommer, a cultural exchange program that offers international performing opportunities to youth and pre-professionals. She serves on the National Board of Regional Dance America (RDA); she served as President 1991-2001. Ms. Brown directed RDA Craft of Choreography Project 1987-2001, when she founded The Project named for her.
Vanessa Brown is Associate Director. She has been associated Allegro Ballet since 1974 as dancer, teacher and Associate Director. She attended University of Oklahoma on a dance scholarship. In 1997, she helped coordinate National Regional Dance America Festival with 89 performing groups and more than 2000 attendees.
Leslie Jane Pessemier, Director of Choreography, has been recognized by National Endowment for the Arts. She has served on the faculty of USA/International Competition and was director of Baltimore Ballet. Her ballets have toured nationally and have been presented in Austria and China.
James Fogelsanger on the faculty of the Theatre, Film and Dance Department at Cornell University was Director of Music. He is a member of International Guild of Musicians in Dance "www.DanceMusician.org". At Cornell he accompanies class and teaches music to dancers. His collaborations with choreographers and innovative artists are works that are continually creating excitement and energy.
Ballet during the first week was taught by Paula Weber, Associate Professor of Ballet, Conservatory of Ballet, University of Missouri Kansas City (UMKC). She is Assistant Director for the Wylliams/Henry Danse Theatre and Ballet Mistress for Albany Berkshire Ballet.
Thom Clower, who has recently relocated to Atlanta, Georgia, taught ballet the second week. He has been a guest teacher at Broadway Dance Center, associate ballet master for Les Trockadero de Monte Carlo and Hubbard Street Chicago. His association with Regional Dance America encompasses thirty years and forty-four festivals.
Jennifer Medina, a modern dance, holds an MFA from University of Iowa and has had works presented at Martha's Vineyard. She was Guest Artist at Washington University in St. Louis in 2003 and currently serves as Visiting Assistant Professor of Dance at UMKC.
Alexandra Wilson, a native New Yorker, taught imaginative jazz dance. She toured Europe at the age of sixteen with Tanzsommer. She is with Storling Dance Theater as well as Assistant Director of Signature Dance Company.
Ashley Moore, a nineth grader who studies at Canton Ballet, loved the mixture of jazz dance that included traditional, Latin jazz, contemporary, hip hop, lyrical and Fosse techniques.
Ashley responded to Paula Weber and her emphasis on ballet presentation, upper body and connections. She said that Thom Clower was a great contrast with his straightforward approach and the lively, loud and lovely form of his classes. Jennifer Medina's modern technique was sharp and precise. Ashley noted the emphasis on isolation contrasted with rolling through.
Choreographers who presented works during The Project were Cierra Musick, Charles Martin, Nancy Whyte, Michelle Brown, Penny Askew, Carol Uraneck and Luke Davis. Jennifer Medina and Alexandra Wilson also participated in choreography assignments.
Jennifer Medina's work from her Modern Dance Classes opened the last showcase and Alexandra Wilson's Jazz Dance Class presented the Finale.
Accommodations in the dormitory coupled with a short walking distance to the dining hall and the Performing Arts Center gave The Project the freedom to focus on the process and not on logistics. Staff at the University of Missouri Kansas City was helpful, friendly and gracious. Food service offered ample variety to serve the hamburger/pizza lover, the vegetarian, salad devotee or the meat-and-potatoes taste.
The Glenda Brown Choreography Project, 14027 Memorial Drive #423
Houston, TX 77079
email:glendabrown@peoplepe.com
At press deadline the new web site is under construction.
Amanda Stone writes and
participates in dance in Texas.
Her email: amandastone4@aol.com