With the WAXworks showcase coming up in a couple weeks (Sunday, Dec. 16th, specifically), I have a short teaser to tame your curiosity short term, but make you even more hungry to see what else we're cookin' up in the studios. This is getting good, folks.
Here is Michelle and Celie in the duet section of Her Story.
Dance on, people. Dance on.
Thursday, November 29, 2012
Friday, November 23, 2012
ATD is now sponsored by Fractured Atlas!
See that nifty new page link up there that reads, Support?
That, my friends, is the newest addition to this site and it excites me greatly, not only be able to collect donations in order to pay my supremely excellent dancers, genius composers Sam and David, and photographer, space rentals, costumes, travel and lodging, etc. but that it is now officially tax-deductible by the fullest extent of the law! How perfect!
As a recent addition to the Fractured Atlas Fiscally Sponsored Artist family, I now have the ability to apply for grants that are otherwise not available to me without a non-profit, or 501(c)3, status. With FA, I am now under their non-profit umbrella which opens me up to a multitude of opportunities, and the bonus for you is that it's tax deductible! The catch is that I must raise $1,000 before these grants are made available to me. Now, I can do a whole lot with $1,000 including pay my dancers for rehearsal and performances, pay for rehearsal space, pay my composers, Sam and David, who always make the most breath-taking compositions, pay a costume designer, and put any remainder into future performances - as I would really love to have this project produced in a theater and invite all of you!
With an upcoming performance at WAXworks this December 16th, we're really rolling with our latest evening length project, currently titled, SPARC. Her Story is shaping up quite well with a beautiful solo from Valerie Miller, a duet with Michelle Friend and Celie Erickson, and a corps of dancers including Alyssa Caliendo, Julie Goldberg, Rachel Slaughter and Julia Vickers. We also have another duet with myself and Erin Cairns Cella that was well received at THROW, a work in progress showing, last Tuesday where one viewer told me, "You have luscious moves!" And of course, the first installment, So we go there, where nothing is waiting, has since been performed in Charlotte, NC, Brooklyn and Long Island City, NY. We're three pieces deep into this evening length performance and have at least two more to go, as well as a film installation to make!
Being a working woman, I've worked hard in all of my jobs whether they be a dance-oriented position, retail, or health services, just so I could keep doing the job I truly love - dance. All of my dancers are also working women, striving to break the mold and earn a living doing what is an essential piece of our culture and history - dance. This is why it is so important for me to try my hardest and pay them for their time, their dedication to our craft, and for being stuck in a stinky, sweaty studio with me for several hours on end without fail. Did you know that most dancers have to work 3-5 jobs just so they can afford the time and space to dance? Crains New York published this article in February.
If you would like to donate, you can follow this link, or contact me directly at AlexandraTaylorDance@gmail.com. If you would prefer to donate to something specific (rehearsal space, pay for dancer's time, etc.), I'm also more than happy to talk with you about that - just shoot me an email and we'll chat. Another bonus - there is no deadline. You can donate as often and whenever you'd like.
Lastly, don't forget to join our mailing list to get updates about performances, classes, and other exciting news.
Thanks for reading. Now, dance on, people!
That, my friends, is the newest addition to this site and it excites me greatly, not only be able to collect donations in order to pay my supremely excellent dancers, genius composers Sam and David, and photographer, space rentals, costumes, travel and lodging, etc. but that it is now officially tax-deductible by the fullest extent of the law! How perfect!
As a recent addition to the Fractured Atlas Fiscally Sponsored Artist family, I now have the ability to apply for grants that are otherwise not available to me without a non-profit, or 501(c)3, status. With FA, I am now under their non-profit umbrella which opens me up to a multitude of opportunities, and the bonus for you is that it's tax deductible! The catch is that I must raise $1,000 before these grants are made available to me. Now, I can do a whole lot with $1,000 including pay my dancers for rehearsal and performances, pay for rehearsal space, pay my composers, Sam and David, who always make the most breath-taking compositions, pay a costume designer, and put any remainder into future performances - as I would really love to have this project produced in a theater and invite all of you!
With an upcoming performance at WAXworks this December 16th, we're really rolling with our latest evening length project, currently titled, SPARC. Her Story is shaping up quite well with a beautiful solo from Valerie Miller, a duet with Michelle Friend and Celie Erickson, and a corps of dancers including Alyssa Caliendo, Julie Goldberg, Rachel Slaughter and Julia Vickers. We also have another duet with myself and Erin Cairns Cella that was well received at THROW, a work in progress showing, last Tuesday where one viewer told me, "You have luscious moves!" And of course, the first installment, So we go there, where nothing is waiting, has since been performed in Charlotte, NC, Brooklyn and Long Island City, NY. We're three pieces deep into this evening length performance and have at least two more to go, as well as a film installation to make!
Being a working woman, I've worked hard in all of my jobs whether they be a dance-oriented position, retail, or health services, just so I could keep doing the job I truly love - dance. All of my dancers are also working women, striving to break the mold and earn a living doing what is an essential piece of our culture and history - dance. This is why it is so important for me to try my hardest and pay them for their time, their dedication to our craft, and for being stuck in a stinky, sweaty studio with me for several hours on end without fail. Did you know that most dancers have to work 3-5 jobs just so they can afford the time and space to dance? Crains New York published this article in February.
If you would like to donate, you can follow this link, or contact me directly at AlexandraTaylorDance@gmail.com. If you would prefer to donate to something specific (rehearsal space, pay for dancer's time, etc.), I'm also more than happy to talk with you about that - just shoot me an email and we'll chat. Another bonus - there is no deadline. You can donate as often and whenever you'd like.
Lastly, don't forget to join our mailing list to get updates about performances, classes, and other exciting news.
Thanks for reading. Now, dance on, people!
Wednesday, November 14, 2012
THROW on some inspiration and intrigue... Feedback is a choreographic tool.
Last night was excellent. I am quite smitten with the other artists that performed and showed work. Quite smitten.
But first, a very big thank you to the massive audience that attended Sarah Maxfield's THROW (curated by Lindsey Dietz Marchant '12-'13) last night at The Chocolate Factory Theater. Not a single seat was empty! I can't stress how important it is to have an actual feedback session for works in progress. Coming from the college and grad school realm, I was able to make works in confidence due to the continuous feedback and ability to really invest in my craft. You get an opportunity to touch base with outside eyes and minds that can offer such fruitful information about what you are showing your audience.
Erin and I haven't been working long on this piece but we have very clear directives that have led our rehearsals through improv and phrase development. Knowing that Erin and I move in very different ways, I am comforted by our ability to connect emotionally, mentally, and still physically. Working with someone so intelligent and open-minded makes a world of difference and keeps the process not only interesting, but fulfilling. No wonder she is in such high demand!
My goal for last night was to evoke memories of those who we were once very close but not necessarily here with us any longer - whether that be because they've passed, moved away, or what ever the case.
Luckily, my goal was met as I asked three questions to the audience which were:
But first, a very big thank you to the massive audience that attended Sarah Maxfield's THROW (curated by Lindsey Dietz Marchant '12-'13) last night at The Chocolate Factory Theater. Not a single seat was empty! I can't stress how important it is to have an actual feedback session for works in progress. Coming from the college and grad school realm, I was able to make works in confidence due to the continuous feedback and ability to really invest in my craft. You get an opportunity to touch base with outside eyes and minds that can offer such fruitful information about what you are showing your audience.
Erin and I haven't been working long on this piece but we have very clear directives that have led our rehearsals through improv and phrase development. Knowing that Erin and I move in very different ways, I am comforted by our ability to connect emotionally, mentally, and still physically. Working with someone so intelligent and open-minded makes a world of difference and keeps the process not only interesting, but fulfilling. No wonder she is in such high demand!
My goal for last night was to evoke memories of those who we were once very close but not necessarily here with us any longer - whether that be because they've passed, moved away, or what ever the case.
Luckily, my goal was met as I asked three questions to the audience which were:
- If you were to cast this piece with two people from your life, who would they be and why?
- What space/time/world/realm do each of those characters exist? Is it the same, are they different, what does it look like?
- What memories, thoughts or images did the work bring to mind while watching?
The responses were varied from person to person with their own interpretation of the question asked. Most frequently I received comments that the two characters were experiencing the same thing but in two different worlds or space. Unable to see each other, their interactions ranged from sensing one another's presence, being startled by the other's touch and moving through space together but in different worlds or time. There was a sense of mother and child, teacher and student, (seahorse) sisters [my favorite] and protection and unadulterated freedom with childlike curiosity.
As I move forward with this process and the others I'm knee deep in, I'll see if I can't come up with an open rehearsal for the purposes of exposing the works in this project to different audiences and receive feedback for their further development. If you are an artist and ever want an extra eye or voice for feedback, please feel free to connect with me. I truly believe it's an incredibly helpful tool that can confirm your intent or take you on a new journey with your work.
Lastly, I just can't thank Sarah Maxfield and Lindsey Dietz Marchant enough for the opportunity to show my work last night. The structure of the showing is very clean and always attracts the most amazing crowd of dance lovers that do anything but sit and dead stare while you await answers to your questions. This carefully crafted event is a must-go for anyone wanting to see what's going on with various artists, it's easy on the wallet (FREE with drinks for purchase), and it's an excellent opportunity for other artists to take another look at their current or past projects whether you're showing or just observing. It's killer.
That's all for now but as always people, dance on.
Ps. Catherine Galasso and Barbie Diewald were stunning. You should seriously check them out.
Sunday, November 11, 2012
THROW on some fresh dance moves, please.
This Tuesday, November 13th at 7pm ATD will be showing a fresh, in-progress version of a new untitled duet with Erin Cairns Cella and yours truly as a part of The Chocolate Factory Theater presents Sarah Maxfield's THROW, curated in 2012-2013 by Lindsey Dietz Marchant.
What's that you ask? How much? Oh, it's free. Nice.
I have to say, having only attended one of this events before, it was life changing. I thoroughly enjoyed sitting in as an audience member and watching works in progress - raw, fresh material, in it's infancy, being molded and considered by these stunning and clever dance artists. Not only did I get a first look at these works, but I was able to talk about it with them with the other audience members. They ask you these intriguing and thought provoking questions that spark your mind with a buffet of ideas and responses that not only make you feel smart but immensely help the artists while their in the midst of their process.
Bonus - you leave feeling like a million bucks. You just helped an artist with their process. Not to mention feeling inspired to attend more dance events and racing to get into the studio ASAP.
Now it's my turn. I'm showing a work that, too, is in it's infancy. We've had several rehearsals and have a clear prompt, and I'm working with a killer mover and thinker. The structure is in progress and frankly, it's more about our relationship than the movement. The movement will take shape as we go and will emit the environment we're aiming to expose. So, why not come on down and share your thoughts with me? I promise you'll enjoy yourself. Bring a friend. Bring a neighbor. Go out for a drink at one of the many cute spot around. Can't wait to see you.
And if my dance stylings aren't enough to lure you in, you should check out Catherine Galasso and Barbie Diewald. They'll be there, too.
What's that you ask? How much? Oh, it's free. Nice.
I have to say, having only attended one of this events before, it was life changing. I thoroughly enjoyed sitting in as an audience member and watching works in progress - raw, fresh material, in it's infancy, being molded and considered by these stunning and clever dance artists. Not only did I get a first look at these works, but I was able to talk about it with them with the other audience members. They ask you these intriguing and thought provoking questions that spark your mind with a buffet of ideas and responses that not only make you feel smart but immensely help the artists while their in the midst of their process.
Bonus - you leave feeling like a million bucks. You just helped an artist with their process. Not to mention feeling inspired to attend more dance events and racing to get into the studio ASAP.
Now it's my turn. I'm showing a work that, too, is in it's infancy. We've had several rehearsals and have a clear prompt, and I'm working with a killer mover and thinker. The structure is in progress and frankly, it's more about our relationship than the movement. The movement will take shape as we go and will emit the environment we're aiming to expose. So, why not come on down and share your thoughts with me? I promise you'll enjoy yourself. Bring a friend. Bring a neighbor. Go out for a drink at one of the many cute spot around. Can't wait to see you.
And if my dance stylings aren't enough to lure you in, you should check out Catherine Galasso and Barbie Diewald. They'll be there, too.
The Chocolate Factory is located right off the 7 train (Vernon/Jackson) at 5-49 49th Ave Long Island City, NY
Remember, it's FREE!
Wednesday, October 24, 2012
It's okay to talk about it.
As I continue working on the various pieces of my latest project, I often feel like to can't talk about the more serious details with friends other than those directly involved in the project. Even after I've performed my solo several times and have shown in-progress versions of the other pieces within the project, I still feel bad for making anyone think about darkness in the form of losing a loved one.
Why? Why do I feel bad for that? Why do I apologize for bringing up something that we all have dealt with in one way or another?
I shouldn't, is the answer for now. Something I have to constantly remind myself.
After performing my solo, I have encountered those who wish to tell me their story. They want to tell me about their beloved Grandmother, or Aunt that recently passed away. Or how something they saw or heard reminded them of the eerie feelings and sensations they experienced when they were dealing with these situations. When discussing the project as a whole, I've been told stories of loss by people I barely know.
I'm not only receiving moving yet tragic stories, but support to continue where I'm going with this project.
My hope in the journey is to tell your stories and allow that to be something all of us can relate to. I feel empowered and incredibly overwhelmed by this task, hoping that I can reach out and touch those who've experienced such sadness and let them know, we're all here. We love you, we support you, and you're not alone - all while being sensitive to the real-life stories I'm exposing.
With all of this in mind, I'm embarking on yet another piece that instead of telling our stories, celebrates those who are looking down on us and still help us through each and every moment. We're beginning every improvisation with this prompt:
Working on this piece emits a sense of love and support in the room that feels safe and warm. While we're reminded that the other person is no longer right there in our reality, we're aware of what was and how that once felt. We're also consoled by the image that those lost are never truly gone.
As I continue to work through the various processes I'm using for each of these works, I'm attempting to delicately explore the ways in which I can reach out and express the sadness and uncertainty of loss. I invite your feedback whether far away through video or near enough to come see a rehearsal.
For now, I'll leave you with the working title for the entirety of this project:
Using the names of those who've submitted stories or pieces that are inspired by someone, I moved the letters around to spell out a (mis-spelled) word that could express that life that was once here with us. I've heard people described as a force to be reckoned with, a spark of life, an energy that was vibrant and brilliant in it's time. With this I found this definition lurking in the 5th line of the explanation of the word, spark:
Why? Why do I feel bad for that? Why do I apologize for bringing up something that we all have dealt with in one way or another?
I shouldn't, is the answer for now. Something I have to constantly remind myself.
After performing my solo, I have encountered those who wish to tell me their story. They want to tell me about their beloved Grandmother, or Aunt that recently passed away. Or how something they saw or heard reminded them of the eerie feelings and sensations they experienced when they were dealing with these situations. When discussing the project as a whole, I've been told stories of loss by people I barely know.
I'm not only receiving moving yet tragic stories, but support to continue where I'm going with this project.
My hope in the journey is to tell your stories and allow that to be something all of us can relate to. I feel empowered and incredibly overwhelmed by this task, hoping that I can reach out and touch those who've experienced such sadness and let them know, we're all here. We love you, we support you, and you're not alone - all while being sensitive to the real-life stories I'm exposing.
With all of this in mind, I'm embarking on yet another piece that instead of telling our stories, celebrates those who are looking down on us and still help us through each and every moment. We're beginning every improvisation with this prompt:
You keep an eye from up there, and I'll keep watch from down here.
Working on this piece emits a sense of love and support in the room that feels safe and warm. While we're reminded that the other person is no longer right there in our reality, we're aware of what was and how that once felt. We're also consoled by the image that those lost are never truly gone.
As I continue to work through the various processes I'm using for each of these works, I'm attempting to delicately explore the ways in which I can reach out and express the sadness and uncertainty of loss. I invite your feedback whether far away through video or near enough to come see a rehearsal.
For now, I'll leave you with the working title for the entirety of this project:
SPARCS
Using the names of those who've submitted stories or pieces that are inspired by someone, I moved the letters around to spell out a (mis-spelled) word that could express that life that was once here with us. I've heard people described as a force to be reckoned with, a spark of life, an energy that was vibrant and brilliant in it's time. With this I found this definition lurking in the 5th line of the explanation of the word, spark:
Spark (noun): a trace of life or vitality.Until next time, my loves.
Wednesday, October 17, 2012
Dance for DNA + Women in Motion this Saturday!
In case you haven't caught my persistant Facebook postings, ATD is performing a work-in-progress version of the solo (with Valerie Miller) and duet (Sarah Lehman and myself) from "Her Story" this weekend in two locations!
Dance New Amsterdam, my first and only dance home in NYC is having an event to aid in supporting the non-profit and to help keep the doors open. Dance for DNA will showcase pop-up performances all day long by a number of artists that I am personally inspired by including: Alexandra Beller/Dances, Ori Flomin, and Christopher Williams. I had to double check that I read the confirmation correctly when I realized so many amazing and stunning people would be performing in the same event I am... how totally cool.
So, join us at 12:15pm in the upstairs gallery at DNA for a sneak peek of our work, but come and stay ALL DAY for performances in the two galleries, including classes to take all day long. Top off your night by joining in the silent auction, and seeing two performances in the theater of Sunhwa Chung/Ko-Ryo Dance Theater and LateNite followed by a Dance Party complete with a DJ.
What? All of that is going on all on Saturday? Yes!
But I'm not done. If you can pull yourself away from DNA for a few hours, come check out Park Slope at 121 Sterling Place, #2B, Brooklyn NY for the Women in Motion Salon featuring three artsists, including myself. There will be drinks, friends, new friends, and dance. Talk about a good time! Doors open at 4pm, dances start at 4:30pm, conversations, drinks, and fun continue until the wee hours.
Bring a friend, or two, or ten, to both of these events. It's a great chance to have fun, mingle, meet new people, network, smile, drink, dance, and be merry. Who doesn't need more of that in their life? You don't need to be a dancer to enjoy these events and we want YOU there!
So, we'll see you there, yes?
Dance New Amsterdam, my first and only dance home in NYC is having an event to aid in supporting the non-profit and to help keep the doors open. Dance for DNA will showcase pop-up performances all day long by a number of artists that I am personally inspired by including: Alexandra Beller/Dances, Ori Flomin, and Christopher Williams. I had to double check that I read the confirmation correctly when I realized so many amazing and stunning people would be performing in the same event I am... how totally cool.
So, join us at 12:15pm in the upstairs gallery at DNA for a sneak peek of our work, but come and stay ALL DAY for performances in the two galleries, including classes to take all day long. Top off your night by joining in the silent auction, and seeing two performances in the theater of Sunhwa Chung/Ko-Ryo Dance Theater and LateNite followed by a Dance Party complete with a DJ.
What? All of that is going on all on Saturday? Yes!
But I'm not done. If you can pull yourself away from DNA for a few hours, come check out Park Slope at 121 Sterling Place, #2B, Brooklyn NY for the Women in Motion Salon featuring three artsists, including myself. There will be drinks, friends, new friends, and dance. Talk about a good time! Doors open at 4pm, dances start at 4:30pm, conversations, drinks, and fun continue until the wee hours.
Bring a friend, or two, or ten, to both of these events. It's a great chance to have fun, mingle, meet new people, network, smile, drink, dance, and be merry. Who doesn't need more of that in their life? You don't need to be a dancer to enjoy these events and we want YOU there!
So, we'll see you there, yes?
Saturday, October 6, 2012
Performance Updates and Upcoming Events
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| Photo: Eric Bandiero |
Hello you dance enthusiasts,
ATD had their NYC/Brooklyn debut of "So we go there, where nothing is waiting," on Sunday, September 23rd at Triskelion Arts, where I was accompanied by five other dancers and a nasty cold. Somehow, we surged forward but I've been in bed ever since. Now, feeling both ancy and exhausted, I'm happy to share with you our next few shows and other news.
On Saturday, October 20th, ATD will be performing at EstroGenius' Women In Motion Salon in Park Slope.
We're also hoping to present at Dance New Amsterdam, earlier that day for Dance for DNA.
On Sunday, December 16th, we'll be back at Triskelion Arts for another round of WAXworks where we will show, "Her Story." This is one of the few pieces that I'm putting together for the evening length work I've been going on and on about, tentatively titled, "SCRAP."
ATD will also be performing in THROW at the Chocolate Factory in LIC, but I'm still waiting to see which date - either October 30th or November 13th. I'll update with that info as soon as I have it.
In education news, I'll be teaching at DNA on Friday, October 26th from 3-4:30 for Free Class Friday. Free for members and $17.50 for non-members.
Lots of fun things going on!
For now here is an in-progress look at "Her Story."
Thursday, September 20, 2012
Our stories are all too real.
A few months back I asked you in the cyber world to send me your stories about loss. I was able to take my time, read each story over and over, and begin to detach myself from the tragedy that is a real life situation that someone close to me has been dealing with.
Now, after the startling news of a small child, born to a dear friend of mine, who was lost to an accident, I find myself unwilling to approach this subject of loss with such a distant touch. My own grieving, leaving me unable to communicate or think clearly.
This, paired with running my latest work ("So we go there, where nothing is waiting.") and my work-in-progress ("Her Story") in back to back rehearsals has left me with a heavy, unnerving feeling.
I've decided I need to break up these stories of loss with something else. I'm working on a new duet with fellow artist, Erin Cairns Cella, for this same project and am attempting not only to find a way to keep the mood from dropping us all into a saddened state, but to possibly celebrate the lives of those lost in our stories. I'm trying to think of how I could possibly send a message to the family that recently lost their youngest child and tell them we love them, and that he is safe now. Protected from pain. I also want to be as respectful as possible, as I attempt with all of the stories and authors. It will be a journey, for sure. Without taking us all on an erratic roller coaster ride with each work, I'll attempt to be subtle, yet thoughtful with my execution.
I'll update again once I've made some headway. Heck, I might even have a video to share.
Until next time, take care of yourself, love on others, and breathe.
Now, after the startling news of a small child, born to a dear friend of mine, who was lost to an accident, I find myself unwilling to approach this subject of loss with such a distant touch. My own grieving, leaving me unable to communicate or think clearly.
This, paired with running my latest work ("So we go there, where nothing is waiting.") and my work-in-progress ("Her Story") in back to back rehearsals has left me with a heavy, unnerving feeling.
I've decided I need to break up these stories of loss with something else. I'm working on a new duet with fellow artist, Erin Cairns Cella, for this same project and am attempting not only to find a way to keep the mood from dropping us all into a saddened state, but to possibly celebrate the lives of those lost in our stories. I'm trying to think of how I could possibly send a message to the family that recently lost their youngest child and tell them we love them, and that he is safe now. Protected from pain. I also want to be as respectful as possible, as I attempt with all of the stories and authors. It will be a journey, for sure. Without taking us all on an erratic roller coaster ride with each work, I'll attempt to be subtle, yet thoughtful with my execution.
I'll update again once I've made some headway. Heck, I might even have a video to share.
Until next time, take care of yourself, love on others, and breathe.
Friday, August 31, 2012
ATD is going to...
Brooklyn and Minneapolis!!
On Sunday, September 23rd and Sunday, December 16th ATD will be performing at Triskelion in Williamsburg for WAXWorks!
On Friday-Saturday, March 15-16th, we'll be at the Tek Box Theater in downtown Minneapolis, MN with the co-founded group, TRANSForm Dance Collective!
There are many exciting things happening in the studios including working with a few old friends from the Oregon Dance Department, and working with the text collected from our call for submissions of your story about loss. More on this soon...
Elsewhere in the studio, I'm also subbing classes at Dance New Amsterdam, as well as teaching for Free Class Friday again on October 26th from 3-4:30pm.
Be sure to check the schedule at dnadance.org for updates - I also post on my Facebook page anytime a last minute opportunity comes up.
That's all for now. I'll follow up soon with a video clip from rehearsals!
On Sunday, September 23rd and Sunday, December 16th ATD will be performing at Triskelion in Williamsburg for WAXWorks!
On Friday-Saturday, March 15-16th, we'll be at the Tek Box Theater in downtown Minneapolis, MN with the co-founded group, TRANSForm Dance Collective!
There are many exciting things happening in the studios including working with a few old friends from the Oregon Dance Department, and working with the text collected from our call for submissions of your story about loss. More on this soon...
Elsewhere in the studio, I'm also subbing classes at Dance New Amsterdam, as well as teaching for Free Class Friday again on October 26th from 3-4:30pm.
Be sure to check the schedule at dnadance.org for updates - I also post on my Facebook page anytime a last minute opportunity comes up.
That's all for now. I'll follow up soon with a video clip from rehearsals!
Monday, August 6, 2012
(Alex)andra Taylor Dance at DNA this week!
I'm happy to share the news that I will be subbing two classes this week at Dance New Amsterdam!
Come join me in TriBeCa for a slow intermediate class on Tuesday, August 7th (tomorrow) from 12-2pm and on Friday, August 10th from 6:30-8:30.
We'll be doing a jazzy modern combo since I've been having a bit of withdrawal from my jazzy days. Bring your friends and let's get down with our awesome selves!!
Hope to see you there - spread the word!!
*DNA is located at 53 Chambers St. next to Modell's. Check out dnadance.org for more classes and information.
Come join me in TriBeCa for a slow intermediate class on Tuesday, August 7th (tomorrow) from 12-2pm and on Friday, August 10th from 6:30-8:30.
We'll be doing a jazzy modern combo since I've been having a bit of withdrawal from my jazzy days. Bring your friends and let's get down with our awesome selves!!
Hope to see you there - spread the word!!
*DNA is located at 53 Chambers St. next to Modell's. Check out dnadance.org for more classes and information.
Thursday, July 19, 2012
Stories, by you. A call for submissions.
I'm thinking about my first rehearsal tomorrow and how I am going to have the dancer tell a story. I have a chunk of text, but I'll need more to complete the whole project. This is where you come in.
If you could tell your story of loss or grief, what would it be? How would you tell it?
In talking to an old friend who has offered to share his story with me for the use of the project, we've been trying to figure out how best to write it all down. Is it chronological? Is it highly detailed with emotional backstory? Is there imagery?
What's your story?
I'm looking for stories from you about loss. This could mean a lot of things, including losing someone close to you, you dealing with something currently happening to you, or simply something that occurred and makes you sad. Not all stories are highly dramatic, and some are so out of this world, it's nearly unbelievable.
Whatever the tale - I'm asking you to share it with me. So, what do you say?
For the sake of some privacy, please send your stories to alexandrataylordance@gmail.com.
If you could tell your story of loss or grief, what would it be? How would you tell it?
In talking to an old friend who has offered to share his story with me for the use of the project, we've been trying to figure out how best to write it all down. Is it chronological? Is it highly detailed with emotional backstory? Is there imagery?
What's your story?
I'm looking for stories from you about loss. This could mean a lot of things, including losing someone close to you, you dealing with something currently happening to you, or simply something that occurred and makes you sad. Not all stories are highly dramatic, and some are so out of this world, it's nearly unbelievable.
Whatever the tale - I'm asking you to share it with me. So, what do you say?
For the sake of some privacy, please send your stories to alexandrataylordance@gmail.com.
ATD at the GRC Dance Lab next Friday!
Greetings dance lovers!
If you would, please join me and other dance goers at the Secret Theater next Friday, July 27th at 8pm for the GRC DANCE LAB, a spectacular showing of 10 works, including an excerpt of my solo, So we go there, where nothing is waiting.
Check out the flyer below - truly hope to see you there!
If you would, please join me and other dance goers at the Secret Theater next Friday, July 27th at 8pm for the GRC DANCE LAB, a spectacular showing of 10 works, including an excerpt of my solo, So we go there, where nothing is waiting.
Check out the flyer below - truly hope to see you there!
Saturday, July 14, 2012
Moving onto the next piece of the puzzle
The excitement is beginning to boil as two rehearsals are scheduled for the next portion of my most recent project. I have managed to snag six fine dancers from the New York dance scene...
Erin Cairns Cella, Sarah Lehman, Valerie Miller, Alyssa Caliendo and Celie Erickson.
Be sure to read about these amazing ladies as soon as I am able to post their bios to the Meet the Artists page.
As I move forward in my project, I still find myself stuck in how I really want to investigate my ideas. In a moment of quick decision making, I decided that I wanted to focus on the environment that my text described to me, which was the ruins of a battlefield. I thought I could make a work inspired by the women of the Black Hawk War of 1832. Being that my family delineates from the Sac Nation, I felt excited to research and create a work about my ancestors. However, I feel that maybe that is for another project. I want to stick to my ideas about abstract story telling and I was reinvigorated after receiving an email from an old high school friend who responded to my call for thoughts from others about my using real or fictional characters.
I'm not quite sure how it will all sum up, but what my next move will be is to develop a short set of instructions and put out a call for writings. Please keep a look out as I will surely be wanting to read your story about loss and how you've navigated your way through.
Until then, check out this throw back from 2010 that is basically the reason why this entire project is going down. Damn, the limits of ACDF time constraints... watching this piece now after a few years, there is just too much packed into 12 minutes but nonetheless I was breathless watching these six woman work their magic with Sam L. Richard's score every time. However, now I have the time and opportunities to work it out the way it should be done. Enjoy.
Erin Cairns Cella, Sarah Lehman, Valerie Miller, Alyssa Caliendo and Celie Erickson.
Be sure to read about these amazing ladies as soon as I am able to post their bios to the Meet the Artists page.
As I move forward in my project, I still find myself stuck in how I really want to investigate my ideas. In a moment of quick decision making, I decided that I wanted to focus on the environment that my text described to me, which was the ruins of a battlefield. I thought I could make a work inspired by the women of the Black Hawk War of 1832. Being that my family delineates from the Sac Nation, I felt excited to research and create a work about my ancestors. However, I feel that maybe that is for another project. I want to stick to my ideas about abstract story telling and I was reinvigorated after receiving an email from an old high school friend who responded to my call for thoughts from others about my using real or fictional characters.
I'm not quite sure how it will all sum up, but what my next move will be is to develop a short set of instructions and put out a call for writings. Please keep a look out as I will surely be wanting to read your story about loss and how you've navigated your way through.
Until then, check out this throw back from 2010 that is basically the reason why this entire project is going down. Damn, the limits of ACDF time constraints... watching this piece now after a few years, there is just too much packed into 12 minutes but nonetheless I was breathless watching these six woman work their magic with Sam L. Richard's score every time. However, now I have the time and opportunities to work it out the way it should be done. Enjoy.
Wednesday, June 20, 2012
The sad thing about making sad work.
Ever created a piece that was melancholy? Heavy? Heart-wrenching? Down right depressing?
My husband's response to my latest project was, "What do you want to go make something sad for? Isn't that just going to make you sad?" My response (after the eye roll and a deep breath) was that it's okay for art/dance to be sad. Art can be whatever we want it to be. I'm just trying to do something new for me as a creator.
Originally, I wrote the text for this last piece (So we go there, where nothing is waiting) as I was tired after work, waiting for the train, anxious that I wouldn't be able to find anyone else to write it and understand my aim in such a short amount of time - nurturing a collaborative relationship like I strive for takes months and years. I already had a hard time articulating to one writer what I really wanted out of their work. And frankly, when I work with others, I want it to be dusted with my influence, but their voice shining brightly through and through. So, it was no real surprise to me that I wasn't able to nail it on the first try. I took a stab at it as I somehow oozed the words off my fingertips into a text message to myself. After few edits I was satisfied. But what had I written?
I'd written a prose that was disjunct and eerie. I'd described a land that had been tormented by disaster, a feeling that was heavy with sorrow, a state that was difficult to swallow. Even I couldn't look at the text all the time. I didn't want to be stuck in this hell I'd created - I just wanted to draw my inspiration and movement from it. I felt like a child in the late 1800s standing in a frozen land of trees that were covered in ash with no one around for miles. I couldn't be sad, I had to move on. I couldn't cry about what had happened, I had to look for water or something to eat. There was no use in talking about it, it wasn't going to bring them back.
At this moment, as I built on the struggles and experiences of this child I was developing, I realized I had my first character. I had a tragic experience to reference and her decisions on how to move on afterward. It wasn't entirely important what exactly had happened that caused all of this agony, it was more about how this little girls continues living. She is strong, as most children are. No time for nonsense or rehashing, just time to survive and be at peace. Now that I had my start, I wanted more.
At first I thought about writing up a few characters and putting them in this story together. Then I had a wild idea after a visiting professor came in to view my rehearsal with one of her students. She, a cancer survivor, brought her own meaning to the work. She read my text, was curious to see what my movement would look like, and began to tear up as I showed her my first chunk of material. Me, certain that it wasn't my dazzling stylings that had brought her tears out, cautiously sat down next to her to ask her what happened. She continued to tell me about what she felt when the doctor first told her she had cancer, and that her first response was to be the protector of her family. They needed the protection, after all. She would be fine.
I was shocked that I hadn't considered this dark piece could bring up tragedy in someone else with their own traumatic experiences. But why would I? I made up this story. It was fictional. I had created it with a purpose to not to reveal the specific event that caused this heart ache. And by doing so, I left the field open for interpretation for anyone who wanted to take a chance.
From there I thought about doing more research on various types of loss/tragic events. What if I asked a few people to write down their thoughts/feelings about how they felt when something life changing happened? What if they were my characters? What if they had a chance to share their stories?
Then I thought - what if this is a bad idea? What if this causes hurt?
This is where you come in. What do you think? Fictional characters or real-life woman sharing their stories? What are the pros and cons? What would you want from someone sharing your story through text and movement? Would you want any part of it?
Leave a comment, or if you'd prefer you can email a response to alexandrataylordance@gmail.com. No story is more or less important than another - it's about how it affected you.
Thanks for reading - looking forward to discussing this more. Until next time, friends...
My husband's response to my latest project was, "What do you want to go make something sad for? Isn't that just going to make you sad?" My response (after the eye roll and a deep breath) was that it's okay for art/dance to be sad. Art can be whatever we want it to be. I'm just trying to do something new for me as a creator.
Originally, I wrote the text for this last piece (So we go there, where nothing is waiting) as I was tired after work, waiting for the train, anxious that I wouldn't be able to find anyone else to write it and understand my aim in such a short amount of time - nurturing a collaborative relationship like I strive for takes months and years. I already had a hard time articulating to one writer what I really wanted out of their work. And frankly, when I work with others, I want it to be dusted with my influence, but their voice shining brightly through and through. So, it was no real surprise to me that I wasn't able to nail it on the first try. I took a stab at it as I somehow oozed the words off my fingertips into a text message to myself. After few edits I was satisfied. But what had I written?
I'd written a prose that was disjunct and eerie. I'd described a land that had been tormented by disaster, a feeling that was heavy with sorrow, a state that was difficult to swallow. Even I couldn't look at the text all the time. I didn't want to be stuck in this hell I'd created - I just wanted to draw my inspiration and movement from it. I felt like a child in the late 1800s standing in a frozen land of trees that were covered in ash with no one around for miles. I couldn't be sad, I had to move on. I couldn't cry about what had happened, I had to look for water or something to eat. There was no use in talking about it, it wasn't going to bring them back.
At this moment, as I built on the struggles and experiences of this child I was developing, I realized I had my first character. I had a tragic experience to reference and her decisions on how to move on afterward. It wasn't entirely important what exactly had happened that caused all of this agony, it was more about how this little girls continues living. She is strong, as most children are. No time for nonsense or rehashing, just time to survive and be at peace. Now that I had my start, I wanted more.
At first I thought about writing up a few characters and putting them in this story together. Then I had a wild idea after a visiting professor came in to view my rehearsal with one of her students. She, a cancer survivor, brought her own meaning to the work. She read my text, was curious to see what my movement would look like, and began to tear up as I showed her my first chunk of material. Me, certain that it wasn't my dazzling stylings that had brought her tears out, cautiously sat down next to her to ask her what happened. She continued to tell me about what she felt when the doctor first told her she had cancer, and that her first response was to be the protector of her family. They needed the protection, after all. She would be fine.
I was shocked that I hadn't considered this dark piece could bring up tragedy in someone else with their own traumatic experiences. But why would I? I made up this story. It was fictional. I had created it with a purpose to not to reveal the specific event that caused this heart ache. And by doing so, I left the field open for interpretation for anyone who wanted to take a chance.
From there I thought about doing more research on various types of loss/tragic events. What if I asked a few people to write down their thoughts/feelings about how they felt when something life changing happened? What if they were my characters? What if they had a chance to share their stories?
Then I thought - what if this is a bad idea? What if this causes hurt?
This is where you come in. What do you think? Fictional characters or real-life woman sharing their stories? What are the pros and cons? What would you want from someone sharing your story through text and movement? Would you want any part of it?
Leave a comment, or if you'd prefer you can email a response to alexandrataylordance@gmail.com. No story is more or less important than another - it's about how it affected you.
Thanks for reading - looking forward to discussing this more. Until next time, friends...
Tuesday, May 22, 2012
Excerpts from So we go there, where nothing is waiting
I'm happy to post this collection of snippets from my most recent work, presented at the Carolina Actors Studio Theater in Charlotte, NC on Saturday, March 31st as a part of TRANSForm Dance Collective presents Interplay.
This twelve minute solo is just the beginning in an evening length work that I am developing. After reflecting back on the creation process and feedback from friends and strangers who've become friends, I've begun to think about the work in a new light... More on that later. Until then, enjoy.
ATD Update and DNA - Here I come!
After a significant lapse in time since my last post, I'm happy to announce that the Charlotte, NC concert was a super success!!
With a supportive audience made up of local art supporters, students, friends, and family, TRANSForm Dance Collective topped off their week of dance classes and bonding with a splendid concert featuring five fantastic new works and a culminating piece comprised of all of our works to tie the bow.
With a few new connections in North Carolina and Martin, TN, I hope to be able to make it around the U.S. to share with the art makers and appreciators in the communities.
I want to also send another massive shout out to those who helped make our production possible. It was a struggle financially and absolutely would not have been possible without every single ounce of support you all gave. Art is important - thank you for helping make this happen!
In other news, ATD will be teaching their first class at Dance New Amsterdam on June 1st from 3:00-4:30pm as a part of the Free Class Friday program. Please come and enjoy an exhilarating class while we warm up, get down, and groove the day away.
With more time on my side to create works and teach in the community, I'm looking forward to getting out into the fantastic opportunities this summer and beyond has to offer.
With a supportive audience made up of local art supporters, students, friends, and family, TRANSForm Dance Collective topped off their week of dance classes and bonding with a splendid concert featuring five fantastic new works and a culminating piece comprised of all of our works to tie the bow.
With a few new connections in North Carolina and Martin, TN, I hope to be able to make it around the U.S. to share with the art makers and appreciators in the communities.
I want to also send another massive shout out to those who helped make our production possible. It was a struggle financially and absolutely would not have been possible without every single ounce of support you all gave. Art is important - thank you for helping make this happen!
In other news, ATD will be teaching their first class at Dance New Amsterdam on June 1st from 3:00-4:30pm as a part of the Free Class Friday program. Please come and enjoy an exhilarating class while we warm up, get down, and groove the day away.
With more time on my side to create works and teach in the community, I'm looking forward to getting out into the fantastic opportunities this summer and beyond has to offer.
Thursday, March 8, 2012
Sneak Peeks and Clanking Cups
Curious about what I'm taking to Charlotte this March? Here is a sneak peek of one of my latest rehearsals and the movement I'm working with. I'm hoping to be able to work with composer, Sam L. Richards to create/expand upon our last project, with bated breath. Costuming...? Any thoughts?
Be sure to check out our Kickstarter campaign, too. We have 19 days to raise $850, or we receive no funding at all! Yikes!
Be sure to check out our Kickstarter campaign, too. We have 19 days to raise $850, or we receive no funding at all! Yikes!
Sunday, March 4, 2012
One for the money, two for the show...
Things are starting to line up for the big event come March 31st in Charlotte, NC. Everyone is working hard on their pieces and getting pumped to put on our second TRANSForm dance concert at CAST.
To aid us in producing this promising evening, we've launched a kickstarter campaign in hopes to relieve some of the financial pressure. If you are able, please consider donating to help us reach our goal. No donation is too small - it all positively affects our outcome.
Check out the campaign here.
Tuesday, January 31, 2012
Tripods and Boxes for Soap?
Tomorrow at BAX, Erin and I will show each other the solos we've been working on for our February and March performances.
Working on a solo is a different kind of working for me at this point. It's not only for one person, but in this case it's on myself. I've been finding that simple is better, but at the same time... am I getting too repetitive? I tend to use repetition and let it adapt to where I'm going with the work, and sometimes I become concerned that I'm overusing my "words." But when you don't have your usual opportunity to step aside as a non-participating/dancing choreographer, your crappy video footage becomes your only eyes.
Dudes, this girl needs a tripod!
I started with linking movement phrases from previous ideas that I've had or have shown elsewhere, and let them morph and evolve to what I have now (which is still evolving every time I step into the studio). What I do find difficult is the unknowing and uncertainty about what I am creating. What does it look like I'm saying? Is it accurate, or at least not so far off that it's presenting a completely different image/message? How can I portray my message without blatantly spelling it out? Even tonight as I watched my 30 minute set movement into the both loose and structured improvisation, I saw things I "liked" and things I didn't "like," but the message I received right after moving was different from when I watched it a few hours later. And further, it was different when thinking about it after that. Also, the feelings I experienced when moving contrasted from the feelings I encountered when watching myself move on video.
Then I ask - are these differences wrong? My optimistic and open-minded response is no, but my stubborn and insecure side thinks differently.
How do the geniuses do it? How is it that they manage to communicate, to the on-lookers, the message they are expressing? Or do they? Did they get their message across? Did they portray their ideas?
While standing on my soap box for what felt like 3 hours in my living room with my husband, I begged and pleaded with the world to understand that art is important and that no one should be able to say that it isn't. I try to remind my critical self of this when I begin to doubt my creative process and investigation. It doesn't matter how I make work. It doesn't matter if the work isn't "successful." What matters is that I put the situation out there - that I "talked" about it; that I offered an opinion or option to someone.
Again, I've strayed from my original idea of discussing making work on myself as a soloist, but my long day, which was filled with a wide range of topics and soap-box moments, called for a place for me to put these ideas down. And here you are reading them. And, if I'm lucky, you're thinking about art - your work, or someone else's. Any part of it, doesn't matter.
Adios, my friends. Footage to come.
Alexandra
Working on a solo is a different kind of working for me at this point. It's not only for one person, but in this case it's on myself. I've been finding that simple is better, but at the same time... am I getting too repetitive? I tend to use repetition and let it adapt to where I'm going with the work, and sometimes I become concerned that I'm overusing my "words." But when you don't have your usual opportunity to step aside as a non-participating/dancing choreographer, your crappy video footage becomes your only eyes.
Dudes, this girl needs a tripod!
I started with linking movement phrases from previous ideas that I've had or have shown elsewhere, and let them morph and evolve to what I have now (which is still evolving every time I step into the studio). What I do find difficult is the unknowing and uncertainty about what I am creating. What does it look like I'm saying? Is it accurate, or at least not so far off that it's presenting a completely different image/message? How can I portray my message without blatantly spelling it out? Even tonight as I watched my 30 minute set movement into the both loose and structured improvisation, I saw things I "liked" and things I didn't "like," but the message I received right after moving was different from when I watched it a few hours later. And further, it was different when thinking about it after that. Also, the feelings I experienced when moving contrasted from the feelings I encountered when watching myself move on video.
Then I ask - are these differences wrong? My optimistic and open-minded response is no, but my stubborn and insecure side thinks differently.
How do the geniuses do it? How is it that they manage to communicate, to the on-lookers, the message they are expressing? Or do they? Did they get their message across? Did they portray their ideas?
While standing on my soap box for what felt like 3 hours in my living room with my husband, I begged and pleaded with the world to understand that art is important and that no one should be able to say that it isn't. I try to remind my critical self of this when I begin to doubt my creative process and investigation. It doesn't matter how I make work. It doesn't matter if the work isn't "successful." What matters is that I put the situation out there - that I "talked" about it; that I offered an opinion or option to someone.
Again, I've strayed from my original idea of discussing making work on myself as a soloist, but my long day, which was filled with a wide range of topics and soap-box moments, called for a place for me to put these ideas down. And here you are reading them. And, if I'm lucky, you're thinking about art - your work, or someone else's. Any part of it, doesn't matter.
Adios, my friends. Footage to come.
Alexandra
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