Happy Halloween!

Dancing in Canada!

by Nikki Sao Pedro Welch 

 I was fortunate enough to go to Montreal for a week to take the Transformation Danse Intensive and it was one of the most inspiring experiences of my life. The class approaches were refreshingly new and the Montreal culture is so supportive of the arts- it was amazing! I was able to take a body geography class with Isabelle Porier and a Performativity class with Stephen Thompson. I learned so many useful tools for myself as a dancer and as a teacher. While on my dance extravaganza I was also able to see two shows, "Short and Sweet," which comprised of 20 dance companies performing 3 minutes each, and "O Vertigo" a contemporary dance company that used sound manipulation in the flooring and structure on the stage. Both shows were quite different from one another which gave a great example of what Montreal's dance scene is like.  I went to three museums, walked the whole city, and basically did all I could to immerse myself into the city and what it had to offer. I can't wait to go back!!

Monkeyhouse Loves Endicott!

by Nikki Sao Pedro Welch 

Being a member ofMonkeyhouse for the past six years has taught me a lot about the creative process, risk taking, and building dance work with physicallimitations. Having had thethese experiences, I felt it was crucial to have students of Endicott College experience this during their college years. Dancers of Endicott have had the pleasure of working with Karen Krolak, artistic director of Monkeyhouse, Nicole Harris,co-founding member of Monkeyhosue, and Caitlin Meehan, six year member of Monkeyhouse. They have all set works on the Repertory Dance Ensemble and have taughtnumerous workshops. Students learned intricate tap work, a piece that involved a uni-sleeve, and a piece based on the Book and movie of "Alice and Wonderland." Monkeyhouse's approach to choreography is based on thepeople involved and what THEIR capabilities are and asaspiring dancers, it is important to know there are professional companies that do just this! 

As the teacher of the Repertory Dance Ensemble, and the Coordinator of Dance at Endicott, I know the students have learned so much from these experiences and are now more versitile dancers and artists. We look forward to future collaborations and building an even stronger relationship. 

Dance'n Feet

by Nicole Sao Pedro-Welch, Dance Company Member and Coordinator of Dance at Endicott College.

Dance’n Feet is a dance company comprised of women between the ages of 60 and 70 years of age. Their mission is to, “Have fun, learn new dances and tricks, and show that it’s never too late to enjoy dancing.” I had the pleasure of seeing Dance’n Feet perform “A Road to Nowhere” at Endicott College in 2011 during the “Guest Choreographer Showcse.” With Karen Krolak being the choreographer of both their piece and a piece featured in the Guest Choreography Showcase, I thought it would be a great idea to have them perform! I have to say I was utterly impressed by the partner work and energy each woman had during their dance. It was extremely inspiring because I hope to still be dancing at their age!

As stated on their facebook page, the company “practices and performs short, energetic jazz and acrobatic dance numbers” and I saw just that! One specific moment of the dance I remember was when one dancer flipped over a bar that two other women held and somehow ended up in a full split over their heads. Not only was she flexible, but she was extremely strong holding herself up on the bar she flipped over! The college students that performed in this show applauded and exclaimed, “I couldn’t even do that now!” “She is so flexible!”

Their performance from beginning to end was enjoyable and left the audience with smiles on their faces.
 
Even though Dance’n Feet is usually remembered for their acrobatic dance numbers, I also feel they are known for their dedication to the arts in Massachusetts, especially Monkeyhouse. Every time Monkeyhouse has an event or there is a dance event in the Greater Boston area, I always see a Dance’n Feet company member there. It is nice to see how supportive they are to other dance companies and events while staying active in their own company, families, and jobs.  (They have 40 grand children between the company which I am sure keeps them busy!)  Dance'n Feet company members are all wonderful, and inspiring women. I am looking forward to seeing them perform again in the near future.

Artists Talking to Artists: Nikki Sao Pedro Welch & Merli Guerra

Welcome to the third installment of Artists Talking to Artists!  Once again Monkeyhouse's Nikki Sao Pedro Welch will be asking the questions, this time to Luminarium choreographer Merli Guerra.

NSPW:  I saw on your bio that you have training in classical Odissi technique. Can you explain this dance form?
MG:  Great question. Frequently, when I mention my Classical Indian Dance background, I hear "Ohhh, like Bhangra or Bollywood!" It's a perfectly reasonable connection, but Classical Indian Dance forms such as Odissi are actually rooted in traditional Indian temple dances, and take many years to master. I often ask people if they're familiar with images of the figures carved into the pillars and entrances of Hindu temples for reference. Many of the same positions and mudras I practice through Odissi can be seen in these very statues...it's beautiful to see in person! Here in Boston, Bharatanatyam seems to be a much more practiced style than Odissi, which I've studied and performed with Nataraj Dancers in Western Mass under Guru Ranjanaa Devi. Now, whether intentional or not, I find that most of my work has a much greater focus on gestures, facial expressions, and the hands. It's hard not to incorporate it into my modern dance, after breathing it all those years!
 
NSPW:  I also noticed that you toured India in 2012 with Deborah Abel Dance Company. Can you tell us about this experience?
MG:  Well, now, that's a question I've been grappling with ever since coming home! I anticipated this tour for over a year, and could not believe my luck in falling into it. I had toured India in 2007 to study Indian dance, and was dying to go back. Luckily for me, one of the leads dropped out of Deborah's production, prompting her to ask a friend of mine if he knew of a dancer in the area who "had an interest in Indian culture, was small and good at lifts, and preferably had long dark hair." Best typecasting that ever happened to me, and returning to India was as excellent as it was the first time.
I will say that performing in India (rather than other countries I've performed in) was quite the experience. From live wires dangling backstage to working with a crew that didn't speak English, it was a strange reality to feel both at home and foreign in these Western-style theaters. One minute we'd be given delicious meals in a luxury hotel, compliments of the Government; the next we'd be chatting with dusty children living on the streets. There was beauty and chaos in every moment, and each audience differed from one to the next. I don't believe I've ever performed for an audience as verbally enthusiastic as the one we received in Jaipur. Their constant chatting, shouting, and impromptu applauding distracted many members of our group (understandably!), but I have truly never before felt so much energy from a crowd--it fueled me throughout the night, and was (for me) the single best performance of the tour.
And, as always, I am dying to go back to India again.
 
NSPW:  I also saw on your bio that you are a filmmaker and use film with dance. Can you give us some information on any new projects that are in the works involving dance and film?
MG:  Yes! Perfect timing. For several years, I've been hoping to find a way to merge dance with textiles in a new and unique way. I recently received a grant from the Lowell Cultural Council to fund a collaboration between Luminarium Dance Company and the New England Quilt Museum (in Lowell) to combine two of the city's largest focuses: Quilting and Dance. It might sound like an odd coupling, but the results of this "Threading Motion Project" so far are beautiful. I've chosen six quilts from the museum's upcoming exhibit "Silk!" and am projecting them onto my dancers, while exploring the moods and movements each quilt evokes in our bodies. In two weeks I'll film these to create six Quilt Vignettes that will be played on loop as part of the museum's exhibit April 18 through July 7. Luminarium will also be presenting a 15-minute live piece in the museum, based on the concept of "threading motion," during the exhibit's opening and symposium (April 20 at 2pm & 3pm, and April 27 at 4pm).
 
NSPW:  Lastly, I noticed that you have a degree from Mount Holyoke in Dance and Studio Art. This is quite impressive! Can you tell us the most important part of your college experience/process that you still use in creating your work today?
MG:  While I was at Mount Holyoke, I found myself straddling the two seemingly separate worlds of Dance and Studio Art, and it wasn't until my Senior year that I finally found the bridge linking the two through my first film class. I got it into my head that I wanted to toy with one's perception of the "canvas," so rather than creating a film and simply showing it to the class on the screen, I decided to try my hand at creating a film, projecting it onto various surfaces, and creating a film out of that.
One thing led to another, and my Intro to Film "exercise" suddenly had me standing outside in a cold, concrete amphitheater, as images of me dancing through fields projected across the theater and my body. (My co-director of Luminarium, Kim Holman, actually helped me with this project. Why she didn't run after that crazy experimental night, I just don't know! Too late to turn back now, Kim.) My little film Synchronic soon went on to win Best of Mount Holyoke, Best Dance on Camera, and Best of Festival at the Five College Film Festival in 2009, and while winning these awards was (of course!) hugely affirming for my new artistic path, the creation of this single film served a far greater purpose.
Synchronic taught me to challenge what we use as canvas; it taught me how light interacts with the body as it dances across one's skin; it helped me recognize that I am fascinated with the concepts of space, time, and connecting with one's "past self," and it gave me a new medium through which to work. So while my choreography now varies from dance to film, and from video projection to nontraditional lighting, I do find that these same themes still play an active and exciting role in my work. In fact, the piece I'm showing in this year's Against the Odds Festival (Andromeda) touches on several of these themes as well: from "past-self" to the way my soloist interacts with the lights around her. If you haven't seen it yet, you'll understand me (and my work as an artist) much better once you have! 

Do you have a question for Merli that Nikki didn't ask?  Well then, why don't you ask her here!?  All of the Against the Odds artists and everyone at Monkeyhouse wants to know what YOU are thinking, so let's keep the conversation going!

Artists Talking to Artists: Nikki Sao Pedro Welch & Janelle Gilchrist

Here is the second installment of Artists Talking to Artists! We are excited to share a chat with Monkeyhouse's Nikki Sao Pedro Welch and Against the Odds Artist Janelle Gilchrist!

NSPW: I noticed in your bio that you have a BFA in dance, which is wonderful! Do you feel it is important for dancers to continue their training in higher education?

JG: Yes, I think it is important for dancers to continue their training in higher education. We can not dance forever and it is important to have an education to fall back on. When the dance gigs are not coming in, or when it is time to retire from performing, having an education can help you land decent dance teaching jobs, or arts related jobs.
NSPW:You have such an extensive background with choreography working with Flash Mobs, dance studios, and companies. How do you stay inspired?
JG: I stay inspired by attending various dance performances throughout the year. I also see plays and go to art museums when I have time. I try to stay up to date on dance and music trends in pop culture as well.
NSPW: In speaking of Flash Mobs, can you elaborate on your experience with casting and choreographing for Flash Mobs?
JG: I choreographed 2 flash mobs. The first one I did was in Boston. I was asked to organize a flash mob in 4 days. The production manager told me that at the last minute, her choreographer bailed out on her and she needed me to find 30 dancers, choreograph, and teach them a 3 minute dance. She asked me could I do it. I said yes I could. So through my network of dancers, and dance action network, I found 30 dancers. I had 2 rehearsals that were each 2 hours long to teach the material. The dancers were allowed to come to the first rehearsal, the second rehearsal, or both. Then all the dancers arrived on the day of the performance. It was a success. Because the Boston flash mob went so well, I was asked by the same production company to do it again. This time it was at the Bellagio hotel in Vegas for the Jim Beam liquor company. I was given a lot more time. I had about 2 months to prepare. A friend of mine who was a dance colleague when we worked on a cruise ship together, was living in Vegas at the time. I asked him if he had any dancers out there who would do the show with me. Also another friend who used to dance in Vegas, gave me some names of some dancers out there. So without posting on any dance audition website, I was able to get 30 dancers. I had each person send me a résumé and a video of them dancing so I could see their dancing ability. The production company flew me out to Vegas and put me up at the Bellagio. I had one 2 hour rehearsal with the dancers and then the following day we performed. It went extremely well. One of the dancers told me it was the most organized flash mob they had ever been apart of. I was glad I had the opportunity to work on that project.

Do you have a question for Janelle that Nikki didn't ask?  Well then, why don't you ask her here!?  All of the Against the Odds artists and everyone at Monkeyhouse wants to know what YOU are thinking, so let's keep the conversation going!

24 Hour Choreofest!

by Nikki Sao Pedro Welch

photo by Michelle Boule

I was beyond excited when Karen Krolak asked me to be one of the choreographers for the 24-hour Choreofest hosted by Luminarium Dance Company! I was even more thrilled when she told me I would be co-choreographing with Jason Ries! This particular festival was very different from any show I have been a part of.

For 24 hours we;

-were locked in the Dance Complex in Cambridge,

-were only allowed to bring one suitcase filled with potential props, costume pieces, and accompaniment, shower items, and anything else we felt we needed

-had to create a piece from a concept that was picked out of a hat,

-had to come up with new material, costumes, and music

-only had tech in the actual performance space for ten minutes!

- had to perform 2 SHOWS the next day

It was and intense, inspiring, and such a positive experience!!

Other companies that were involved included, The People Movers, 1,000 Virtues Dance, Synthesis Aesthetics Project, and Luminarium, amongst other dancers/choreographers.

At the start of the Choreofest, we all arrived around 7:30PM to discuss "house keeping," meaning, check in times, tech times, and most importantly, picking our concept. The artistic directors of Luminarium Dance asked that we add to the concept list already filled with suggestions from Facebook fans. Jason, Sarah, and I took advantage of this and added many interesting and "Monkeyhouse-esk" ideas. When it was time to choose, others pulled, "addition," "secret." "imperfection," and "ordinary." When it was our (Monkeyhouse) turn to pull a concept we got none other than, "GIANT SQUID EYE." Jason, Sarah Feinberg (dancer), and I all looked at each other puzzled at first but then we were eager to take on the challenge.  Shortly after concepts were picked, all companies were assigned to their work space and magic began...

Throughout the night we improvised and did our typical Monkeyhouse musings, watched others in their creative processes, gathered factual information about the Giant Squid Eye from valid resources (Wikipedia :) ), played twister at 4:00AM, and we were able to create a 7-minute piece in 7 hours. Our piece included text, lights attached to our body, partnering, and many other components. I can honestly say that the actual process of creating did not have many obstacles and Jason, Sarah, and I all contributed to make the piece come to life. The only taxing part of the experience was creating and performing on 1 hour of sleep. However, I was extremely proud of everyone involved for creating such great work and putting on a great show!

If Monkeyhouse had the opportunity to take part in the Choreofest next year, I would definitely do it again!

A Little Dance for your Friday

Remember how we were talking Monday about being ambassadors for Monkeyhouse?  Here is another chance for you to spread the word and your love for Monkeyhouse across the internet.  This beautiful video was shot at the last Against the Odds festival by the amazing Andria Chamberlin and edited together with this beautiful music by Kevin Pelrey to give you a little more information about this year's festival.  Take a minute to watch Karen, Nikki and Caitlin do their thing and then share it with someone you think might also love Monkeyhouse.
Thank you for all you do!