Showing posts with label Monkeyhouse. Show all posts
Showing posts with label Monkeyhouse. Show all posts

4/20/15

My First Week on Internship


My first day at Monkeyhouse started off not at all how I expected. Nicole asked me to generate a list of things I would need to budget if I were to hold a dance performance. Of course I came up with the typical list of venue, lighting, sound, costumes, etc; Where Nicole then had me take that list and generate all of the fine details about each bullet point. Let’s just say that the list doubled in size pretty quickly! From there I generated questions that I could ask if I were to go and try to rent a space. Upon learning that I would be going into Boston on Friday to do so, this simple exercise fueled my excitement.
Throughout the week, Karen and Nicole had me work on several different movement phrases. Starting on day 1, I worked with Emily Dickinson’s poem, “One Does Not Need a Chamber to be Haunted.” I took one line from the poem, and created a movement phrase, using letters from the chosen line as inspiration. For the next day, I was asked to record that phrase in two different settings, and bring in a poem that I enjoyed. I brought in a slam poem written by Sabrina Benaim called “Explaining My Depression to My Mother.” I have watched this poem on Youtube multiple times, and on several occasions. I wanted to use this poem because of truthful and harsh reality it has when explaining what it is like to suffer from depression. Karen had me create multiple sets of movement phrases, choosing one word from the poem that is quite repetitive; mom. I worked with different paces, size, planes, and instrumentation to create a set of phrases that I can say I am quite proud of.
My last day of the week was quite an experience. I traveled to South Station by myself to meet Karen and Nicole to go look at venues for rehearsal and performance space. I don’t think it would have been the full South Station experience if a creepy old man had not come over to talk to me, but don’t worry; I certainly got the full experience! Nicole and I visited three locations, all of which were very different from each other. The Dance Complex was wide, open space, with a comforting atmosphere, and looked like your typical performance location. The space where the performances were held was a large "black box." Nothing to grab your attention away from the dancers performing. Although there were a lot of stairs, (!) I thoroughly enjoyed viewing the building, and getting a sneak peek at the ballet class. Green Street Studios was quite the opposite of the Dance Complex. Quite the "hole in the wall" location, Green Street brought an entirely different vibe to the dance world. The space was occupied so it was hard to get a feel of the size of the studios. I can respectively say that Green Street would be a wonderful rehearsal space, as the location feels built for that solely. I do have to say that the Multicultural Art Center definitely caught my attention. Although on the pricier side, I do see why it is a popular venue to hold weddings, with its beautiful ceilings, and uplifting sense of surrounding. I do feel as if this location is more than appropriate for any dance rehearsal/production. The art galleries were just the cherry on top!

4/8/15

Choreo Cup Q&A - an internal interview

People often claim that they would like to sit inside of Karen Krolak's mind to see how a piece develops. So as we launch into a year long process to create a new work, we asked her to interview herself about the project. 

Choreo Cup 
a Monkeyhouse experiment combining ceramics, choreography and community engagement 

karen Krolak: So what is up with the cups?
kK For most of the last two decades I have harbored a minor obsession with handmade pottery.

kK: I have seen the inside of your cabinets and there is nothing minor about this addiction..
kK: At any rate, I was trolling the internet a few years ago, researching some of my favorite potters when I discovered the artstream nomadic gallery.  As I flipped around the site ecstatically (think about all the  portable joy of a food truck, the sassiness of an air stream trailer and some mouthwateringly outstanding ceramic wares), I happened upon the library link.

kK: You also have more than enough books. I have lugged those boxes up and down far too many sets of stairs.
kK: Nope, not that kind of library but I should let the website explain, "Cups are checked out for one week. During this time you may use the cup for whatever liquid or function you like, provided that you document its use with at least one image. You may also send in other forms of creative response, such as a painting, video, piece of writing or music – or ceramics! No limits. These images and creative works will become part of the Library and will be archived with the cup."
kK: Knowing your gift for racking up library fines, I fear where this is going but please continue.
kK: Luckily, for us the artstream is rarely close enough for me to check out pieces. However, I began mulling over the idea of how one could document a person's interactions with a piece of pottery choreographically. In fact, I began bringing bowls into Musings in November of 2013 and loved some of the movement phrases that they provoked.

kK: November 2013...it is now March 2015. What delayed the project?
kK: Oh, that is a long story about a broken bowl, a kintsugi catastrophe, and a medical mess. Perhaps I can share that in another post. An exciting idea developed during the delay - what if we could include lots of people in the Monkeyhouse community?

kK: Oh sweet Sherlock, what do these people have to do? What if they don't want to dance for you?
kK: Never fear, all they have to do is host this darling little cup that we picked up at Fire Opal in Brookline. The owners of Fire Opal are wonderful and big dance supporters. They have been instrumental in feeding my pottery habit over the years. Both Nicole and I are huge fans of Lollipop pottery's Monster collection and thought this would be a fun piece to send out on an adventure for a year.

kK: Focus! What do you mean host the cup?
kK: Oh right. People can sign up to have the cup for as long as they would like. They can bring it to meals or out to museums or just use it drink their morning coffee. Show it a good time and all we ask it that you document your time with it somehow in the journal that travels with it.

kK: Document it how?
kK: However you want...haiku, list, poem, palindrome, story, photo, song, sonnet, drawing, or dance phrase. We will collect the journal in March of 2016 to use as the inspiration for a new piece.

kK: I am dubious about how all of this will work but how do people sign up to host?
kK: People can sign up by sending an email to monkeyhouselovesme@gmail.com and we will put them on the list. When the person before them is ready to transfer the cup, you will get an email and set up a time to meet. Hopefully, you can even share a few minutes to get to know the last host.

kK: What if someone breaks the cup?
kK: Don't worry, just let us know. We will get it repaired.

kK: Hmmm...I am not ready to commit to this kind of responsibility. Can I just follow along for a bit?
kK: Yes, of course. The project has its own Instagram page and we will keep our Facebook feed updated too.



Instagram

11/5/14

Connecting to the Fleur d'Orange Residency

by Ruth Faris
Ruth (right) at the Opening Reception by JK Photo

When Karen invited me over to Ruth's house last weekend for a party to paint a shingle on her new Little Library (which was great fun, by the way.  If you don't know anything about these little libraries, you should check it out!) I immediately thought, oh wouldn't it be great if she could share with us some of her thoughts on the residency!  Ruth is such a beautiful, vibrant, enthusiastic person.  I am so glad Karen introduced me to her!  -Nicole

When Nicole asked me yesterday to write something for the blog about my experiences last week during the Fleur D'Orange residency, and Karen added 'yes you were one of our main supporters,' I felt like 'what, who, ME?....how can I have been seen as being out-front in any way, and what can I possibly say about DANCE?' So, my train of thought developed from that powerful initial response, and I decided I could write on identity (fittingly enough) and community.

When I met Hind at the opening reception at Brickbottom, she asked me something like ‘what kind of dance do you do?’ to which I quickly replied ‘oh no, I am not a “dancer”!’ Similarly, the following night when I went to sign in to the dance workshop at the Armory, the young woman at the door asked something along the same lines, and again I gasped ‘no, not a “dancer.”’ At a party or a club or a wedding, I am the last one up dancing, for the most part, unless I am muscled or guilted on to the floor by a friend. So, clearly, being A Dancer has never been part of my Identity. Ever.

So, why was I even at these events? Well, I was there because I know Karen, and because she had sent some information way back a few months ago about her intention to bring this Moroccan troupe to town. I generally will make an effort to go to something that a friend promotes, where I would be unlikely to go if it’s a ‘cold call.’ Also, I happen to be on the Board of the Center for Arabic Culture, and I help set up a collaboration between CAC and Monkeyhouse…..so, I was thrilled that this was coming about, and had written the dates into my schedule as soon as Karen mentioned them at our first meeting about it. All of this then made it very likely for me to participate….which I think is a truism for organizers of any sort, that the personal connection with someone is the biggest motivator toward attendance/participation.

I step back a bit further; why do I even know Karen, and thereby get this email from her about a Moroccan dance event? Well, I know Karen because we went to Morocco together, twice in fact, as part of a Sister Cities exchange between Somerville and Tiznit. And I grew to love and value her so much over those shared experiences.  And how had I come to be part of those delegations, considering that it was mostly teachers and artists, of which I am neither? …Well, that was because I am a longtime resident of my neighborhood, and had witnessed the Armory over many years….seen it as a wretched mess of a building, serving as an RMV outpost, an occasional bingo hall, and even an actual armory when Reserves units came to muster….then, totally empty and abandoned and looking worse than ever. So, when the Armory was renovated, I was excited to check it out, and went over when I saw some balloons outside in some version of a community open house. Wandering through the building, I saw to my amazement that there was something called ‘the University of the Middle East’ (UME) there, and I introduced myself to the staff member who was there….and probably a year or so later he thought to email to me to let me know about the upcoming Sister Cities project.

All this to say….what, exactly? I’m not sure what I can say that will be of any use or generalizability to others. But being asked to do this did force this train of thought and taught me some things about myself: for me, community is a powerful draw. Left to my own devices, I am happier to stay home and read a book, but if you invite me to something that’s meaningful to you, I might venture out. Also, though I don’t seem it as much these days, I am a shy person, who has only belatedly and even reluctantly learned that putting out a bit of social energy might actually be okay, and even GREAT.

And, that I have a certain fixed idea of my identity, and it takes a whole lot of extenuating circumstances to find myself being a Monkeyhouse cheerleader! When I am around Karen, its possible to feel that I am A Dancer, though don’t say that too loudly.

2/12/14

Getting to Know Jacob Rosen

by Connor Shea

Jacob as Bud Frump in Weston Drama
Workshop's production of "How To
Succeed in Business Without Really Trying"
I had the honor of interviewing Jacob Rosen. Jacob is a Sophomore at Natick High School and a new intern to Monkeyhouse; as am I. Jacob is truly an unique, and interesting individual. Jacob Rosen was born on February 7th, 1998 in Colorado Springs, Colorado. His family moved to Massachusetts when he was 2; they lived in Belmont. From there, they continue to move around Massachusetts; from Wayland then to Natick when he was 4. The family has been settled in Natick ever since.

Now, I have known Jacob for quite a while and I assumed I knew all of his interests. Well, I was mistaken! To my surprise, Jacob’s interests extends from writing to running to theatre to music! WOW! I was truly surprised when I found out the Jacob has a passion for writing. I was beyond curious as to how this all came about and he answered with that he always had a, “will to create.” That was always something writing gave to him. He then proceeded to talk about how writing was a way he could express himself. Jacob referred to writing as therapeutic.  For Jacob, he believes writing makes you discover things about yourself that you never knew. Jacob also believes that writing is very introspective. Well, I had no clue what introspective meant. So, I did some research and the word introspective comes from the word introspection; which is the examination or observation of a person’s mental and emotional process. You could say that Jacob is quite into his writing and has a genuine, caring passion for his work; which is quite admirable. Jacob has self published some of his original stories but feels they aren’t quite ready for the public yet. I have no doubt one day they will be, and they are sure to be magnificent! I cannot wait to read them someday!


Jacob (middle) as Feldzeig in Natick
High School Drama's production of 
"The Drowsy Chaperone"
Next, I wanted to delve into Jacob’s theatre story. I believe that it is one that everyone needs to hear. It is a story of perseverance, dedication, motivation and really a story of a boy with a love for theatre. As cliche and cheesy as that all sounds; it is not far from the truth! In his younger years, Jacob played many sports. Sports ranging from baseball, to basketball, to football and even soccer! That is quite the athlete! Up to his 5th grade year, sports was all Jacob endured. “...thought I’d be a sports kid.” is how Jacob put it to me. Until he entered the realm of theatre as a fifth grader in Natick Drama Workshop’s (NDW) production of The Wild, Wild, Wildest West!  From there, Rosen fell in love the atmosphere that was and still is theatre. “It enticed me more than sports...” Jacob told me. He then continued to be a part of theatre throughout middle school. Working with Wilson Middle School Drama; Jacob preformed in productions such as Beauty and the Beast Jr. as Monsieur D’Arque, Phineous Trout in Willy Wonka Jr., Chi Fu in Mulan Jr., and finally Papa Ge in Once on This Island Jr.  

Jacob as General Mackenzie in Natick
High School Drama's production of
"And Then There Were None"
By 8th grade, Rosen decided that theatre was the way to go.  However, the same year he discovered his new love for theatre, Jacob was also diagnosed with cancer. As to a result of that cancer, Jacob lost his eye. Something that no 8th grader or anyone for that matter, should have to go through. But he was a trooper and did not let anything get in his way of what he loved. He snatched every opportunity he had in front of him, and he excelled in every way. When I asked him what motivated and inspired him to persevere and pursue theatre, he automatically responded, “My mom.” He mentioned how she was always there for him and always pushed him to try his best; that she was always supportive in all his life decisions. He paused, then continued with another role model of his, Sandy Duncan. Sandy Duncan is best known for her portrayal as Peter Pan in Peter Pan. Sandy Duncan also lost her eye due to cancer. However, she continued and did not let anything stop her from doing what she loved. Jacob talked about how he felt the same way and used Sandy Duncan and her story a way to motivate himself; that if she could do it, so could he. “I admire her courage. She wasn’t afraid to put herself out there. She didn’t let her injury hinder her performance as an actor. She also didn’t let it hinder her life.” His motivation and perseverance shows as Jacob has continued on with theatre to do this day; and plans to continue far off into the future. Jacob has worked with many companies including: Natick Drama Workshop (NDW), Weston Drama Workshop (WDW), Natick High School Drama, Wilson Middle School Drama, Alexander Children’s Theatre School (ACTS), and Boston Children’s Theatre (BCT). Some of Jacob’s favorite roles and shows he has been in include: Feldzeig in The Drowsy Chaperone, General Mackenzie in And Then There Were None, Bud Frump in How to Succeed in Business Without Really Trying, and Chip Tolentino in The 25th Annual Putnam County Spelling Bee.

Jacob as George in Natick High School
Drama's production of "High Society"
Jacob is currently in the Alexander Children’s Theatre School’s (ACTS) current production of The 25th Annual Putnam County Spelling Bee as Chip Tolentino. The production is showing on February 14-16 and performing at the Emerson Umbrella for the Arts. You can go to www.ACTS1.org for more information! The one word to describe Rosen’s experience at ACTS is “eyeopening.” He hopes that everyone enjoys the show!

To conclude our interview, Jacob would just like to emphasize how ecstatic he is to be a part of Monkeyhouse. He can simply not wait to begin this new adventure! I am so honored to have been able to interview such an amazing, talented, well rounded guy like Jacob. It was truly an awesome time! 

10/11/13

Dance In The Fells Is BACK!


by Wanda Strukus

Dance in the Fells Wright's Pond 
 Saturday October 12th 1-4 pm
at Wright's Pond, Elm Street in Medford MA.  
For more information and directions, please visit tworoads.org and like Dance in the Fells on Facebook.

More Wild Adventures in Site-Specific Dancing? Yes, Please!
Dance in the Fells Returns to Medford

As we put the final touches on Dance in the Fells Wright's Pond, our second festival of outdoor, site-specific dance, we're once again thrilled and humbled by our intrepid and wildly innovative choreographers who are making bold and wonderful dances for this year's location: Monkeyhouse, Brian Crabtree, Alli Ross, and the trio of Kara Fili, Tara Weaver, and Carolyn Lewenberg.  We've watched them embrace the landscape, immersing themselves in water, sand, and leaves, and running, rolling, wading, and swinging through all the woods has to offer them. We're just days away from bringing in an audience out to see these amazing dances, and our thoughts are almost entirely on that audience's experience: how we welcome them into our site-specific playground and encourage them to be as intrepid, bold, and playful as our choreographers.

The first Dance in the Fells brought over 400 people into the woods to watch contemporary dance.  They  came by car and shuttle-bus, by foot and by mountain bike.  They came alone or they brought their children and their parents, their partners and their dogs.  As they walked from site to site, they encountered people they hadn't seen in years, and spoke to strangers they might never see again.  They watched one dance or six dances and loved some and didn't love others and talked to each other about these dances and what they meant here among the trees, water, rocks, and foliage, and across this 1000 acre stretch of woods spread an overwhelming sense of connection and community.

Of course, for some of the audience, a minority (fortunately), the warm and fuzzy feelings of community were overridden by feelings of anxiety - anxiety about getting lost in the woods, about not being able to find the next site, about missing something that other people were seeing, about bugs and spiders, and what happens if a dancer tries to interact with them, and where are the toilets anyway?  All the things you don'thave to worry about when you watch dance in a traditional concert venue instead of on a hiking trail.  There's that old saying, "you can't please everyone," and of course, you can't.  And site-specific dance in the woods isn't everyone's cup of tea - it's challenging, unpredictable, and you need sturdy shoes. But deep down, we want it to be everyone's cup of tea. We want everyone to love dance and the woods as much as we do, and to love the extraordinary adventure that our choreographers have created for them.  How do we invite an audience on this kind of journey?

Well, we experiment! This year's site, Wright's Pond in Medford, MA, is gorgeous, but significantly smaller than our previous site - the dances are spread out around the parameter of this pretty pond, and although the terrain changes from leafy path, to beach, to gravel path, to rock outcropping. it's no more than a ¼ mile walk to see all four of them. The location is half wild-and-rocky woods (The Fells) and half beloved (and nicely-groomed) community park, so many people are familiar with the landscape and its history of community use - swimming, fishing, hiking, building sandcastles, and just watching the sun go down. There are real bathrooms, a food truck, and a program with notes from the curators and the choreographers. There are volunteers from the local high school and signs to help people get from one dance to another. There are benches and picnic tables. The presence of these amenities make the site very different from our first festival. Are we getting soft? We don't think so. We used to be afraid of giving away too much, of helping the audience too much, of letting anything interfere with the raw encounter between dance and nature. But now we know, no matter how user-friendly we try to make Dance in the Fells, it's going to be a wild and unpredictable adventure. There will be moments of community and moments of anxiety. There will be great beauty, and probably a bug or two if it's warm enough. There will be someone who's afraid of getting lost in the woods and someone who will be disappointed if they don't get lost, even if just for a few minutes. And there will be beautiful Wright's Pond, turning golden in the afternoon light, geese honking overhead, leaves crackling underneath our feet, and the sounds of a viola and an accordion as we gather to watch these beautiful dances unfold. Please join us on this journey - we can't wait for you to see this!
 

Wanda Strukus is co-founder of Two Roads Performance Projects with Kyna Hamill and co-produces Dance in the Fells
 Two Roads supports the creation of public art and site-specific and environmentally based performance. 

8/16/13

Choreofest, (Somewhat) Explained


by Kimberleigh Holman
In celebration of our friendship with the folks at Luminarium (who are coming in to the studio with us next weekend to see what sort of trouble we can all get ourselves into!) we asked Kim to share her thoughts on the upcoming ChoreoFest with you!

It's very easy to get swept away creating dance solely for the end product.  Maybe you're working on a new piece for a production, a festival, for your own satisfaction or for others' eyes and brains.  Luminarium's 24-Hour ChoreoFest is a festival that focuses on the importance of process while building community.  The abstract: six dance companies with local ties arrive at the Dance Complex, get locked into the space, pick themes from a hat, and create brand new work that premieres in a fully-produced concert the following day.  Now that you have the 'what', hopefully the following text provides insight to the 'why' behind the 24-Hour ChoreoFest.

Let's rewind to the period of time between 2010 and late 2011.  As Luminarium transitioned away from being newcomers on the dance scene, we noticed a lack of community in our collective creative processes, and a lack of opportunity for the process itself to shine.   With those thoughts steeping in the combined brain space of Merli and myself, our desire to produce a unique event that the Boston community (dance and otherwise) could participate in got harder and harder to ignore. Combine that with a love for anything ridiculous, challenging, involving caffeine/adrenaline, or a combination of any of the aforementioned, and ChoreoFest was born!  

I am happy to report that our inaugural 2012 participants (including a wonderful trio representing Monkeyhouse) exceeded all expectations in building community within the festival.   We had many discussions as a group throughout the twenty-four hours of creation that enabled all participants to find similarities and differences and celebrate them.  To further integrate the Greater Boston community, we decided to make the entire overnight period viewable to curious individuals on their own home computers through a live-stream broadcasting from the Dance Complex studios.  The hope was that anyone that tuned in online might be interested enough to come view the festival's culminating concerts, therefore growing the number of new-to-dance viewers in the live audience.  A final facet of 24-Hour ChoreoFest's community goals; all of the profit made from ticket sales to the culminating concerts is given to a local youth-serving charity for performing arts programming.  

Since we are on the cusp of a second ChoreoFest, it's no surprise that the festival was a success in its first year!  Our goal, in years of 24-Hour ChoreoFest to come, is to keep stimulating creative process and community as they are equally important to this endeavor.  We hope that local choreographers and companies aren't scared away by the idea of working amongst their peers in a timed and transparent manner, and we hope to keep developing a steady flow of interested audience members who do not regularly attend arts events.  This year's second 24-Hour ChoreoFest features 
Monkeyhouse, Ryan P. Casey, Paradise Lost, Intimations Dance, Impact Dance Company, and Luminarium Dance.  

Please visit www.luminariumdance.org/choreofest to watch the journey unfold and new work come together overnight.

5/21/13

Don't Forget! Internship Presentation (Program Included)

By Elyssa Berg

Don't forget to check out the presentation of the work Laila and I created during our internship with Monkeyhouse! It's a free event that will be presented in the Natick High School Auditorium. There will be two performances; one at 6:30 and one at 7:00. Come show your support for Monkeyhouse, Laila, and I and enjoy some dance! Here is the electronic program for tonight.


Internship Presentation
Presented by Monkeyhouse
at Natick High School
May 21, 2013


Photo by Paradise Photo and Video











Logic or Passion (premiere)
Choreographed and performed by Laila Fatimi
Music by Owen Walker
Developed during Monkeyhouse internship
A special thanks to Karen Krolak and Nicole Harris

Right Of Passage (premiere)
Choreographed and performed by Elyssa Berg
Music by Marcus "Ides" Jackson
Developed during Monkeyhouse internship
A Special thanks to Karen Krolak and Nicole Harris

5/8/13

Luminarium's 24 Hour Choreofest

By: Elyssa Berg

Luminarium Dance will be hosting their second annual 24 Hour Choreofest! The festival will take place on Friday, August 16, 2013 through Saturday, August 17, 2013 at the Dance Complex in Cambridge, MA. Choreographers/Companies are strongly encouraged to apply for the chance to create work in a completely different environment and under unusual circumstances.

Dancers will spend a full 24 hours in the Dance Complex with a chance to create an original piece of work. All work must be created during this time period, no preconceived work is allowed! After the overnight creating process there will be a short production period in the morning followed by two performances on Saturday. Embrace the opportunity to push your creative limits and create something one of a kind! All proceeds of the Saturday matinee performance will be donated to a charity that focuses on providing arts-based experiences to underserved populations.

All applicants should apply by the May 17th deadline through the online application process. There is a $15 application fee and you will also need to include samples of your work. There will only be five companies chosen to participate in the festival and no solo work is being accepted at this time. Applications and a full description of expectations for the festival can be found at http://www.luminariumdance.org/choreofest-apply#!__choreofest-apply.

2012 Inaugural Participants included:
1,000 Virtues Dance
Sarah Mae Gibbons & Renee Amirault
Luminarium Dance Company
Monkeyhouse
The People Movers
Synthesis Aesthetics Project

You could be next! Apply today for Luminarium's 24-Hour Choreofest of 2013 today!


4/12/13

Best Foot Forward

By: Elyssa Berg


Beginning my internship with Monkeyhouse along side Laila Fatimi our first day consisted a lot about learning how to conduct and act in an interview. Karen Krolak and Nicole Harris explained to us how interviews can both be helpful to our future as an artist or also portray us in a way that wasn't intended.

How people perceive us is extremely important. It can determine who we meet, the opportunities we have, and even the jobs that we do or do not get. The person that we appear as is not always the person that we are, and sometimes that can be our own fault. Karen and Nicole explained to us that when being interviewed it is important to put your best foot forward, making sure that you are showing the you that you want everyone else to see. During an interview the person being interviewed can have as much control as they are willing to take. As someone being interviewed you can direct the conversation to things that you want to talk about. Maybe your working on a new project or maybe you just received an award or honor. It is up to the interviewed to consistently remind the interviewer of what you want to be remembered by at that time so that it sticks in their mind and there is no way of editing it out of the conversation. On the negative side, getting off topic during an interview can bring up awkward conversations, controversial topics, and a whole bunch of invaluable information that can distract readers from what is important about you.

On another side of interviewing is the actual publication of the interview. Laila and I were taught that an interview should be a conversation. It should give insight into who someone is and what they are doing at one point in time that would interest others. When publishing an interview you do not need to include every question and answer that you have. Interviews are unpredictable and can take many different paths that weren't intended, leaving it up to you to weed out the good information. What you were planing on asking someone may not be what they wanted to talk about and that will show in their answers and the derailment of the conversation. One word answers, or answers that don't stir up a good conversation generally aren't going to spark any interest to anyone reading the interview. As a publisher of an interview it is up to you to help others see the interest and importance in the person you are interviewing.

I look forward in the future to applying this lesson of conducting and acting in an interview myself. Laila and I will first begin our interviewing experiences on each other to try and learn the art form of interviews and how we can use them to our advantage and also how to portray the other in the most effective and interesting way possible.



4/11/13

Two Interns and a Blindfold

By Laila Fatimi

Elyssa Berg and I have been honored to do our senior internship with Monkeyhouse! Today being our first day, we were fortunate enough to start a very interesting improvisation exercise. In the first exercise we were given, one person was blindfolded and the other had to control the movement of the one blindfolded.  Having your sense of vision taken away during a partnering exercise, only leaves you focusing on your sense of touch. 


Improv Exercise #1

While being blindfolded, I was able to observe things that are harder to recognize while not blindfolded. At different times I felt we were in sync with each others movement, in the way Elyssa (non-blindfolded) was creating our movement. We were moving like one. At other times I felt we were not in sync, and almost more aggressive in the way we were not moving with each other. While blind folded, I felt like I was totally out of control. Naturally, I tried to fight that (which never helps), so I let go and let Elyssa just take control of our movement.

Improv Exercise #2- Similar to the first exercise, the only difference is that the one blindfolded is now leading. 

Leading with the inability to see, means that Elyssa and I always had to be connected to each other. If you are not, you can lose the person you are trying to move. I also felt that we spent more time on the floor this time. I think this may be because more of our weight was connected to the same thing, making it easier for us to locate and move the other person.

Improv Exercise #3- Similar to the second exercise, but now the person being moved has to react more to how the blindfolded person is moving them.

This exercise, I believe, was the hardest out of all the exercises. Elyssa reacted more to the way I was moving her, making it harder to stay connected. And at some points, It was difficult to even find her (Since I was still blindfolded).

This exercise forced me to think about the types of skills dancers need while partnering; learning to let go and not think or worry about what the next move is going to be. This can be applied in our daily lives as well. The longer and harder you hold on to something, the less control you have over it. I also recognized, that while partnering we needed to stay connected to each other to make our movement flow. The second we detached from one another, our movement had stopped flowing.

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