Getting to Know Kristin Sudeikis!

I have thoroughly enjoyed chatting with Kristin Sudeikis as we get ready for the CoolNY 2014 Dance Festival.  The festival has two weekends of performances and you can catch Kristin's work on Thursday, February 6 at 7:00pm & Saturday, February 8 at 7:00pm.  If you make it to see her work please let me know since I will only be in town the first weekend!  -Nicole

photo by Lindsay Linton

N:  You have done a lot of work in recent years with organizations that promote health, safety and empowerment for women and girls.  Can you talk a bit about what got you started with that particular community and how you feel that work has changed you/your work?
KS:  Dance, in my opinion, is one of, if not, the most healing art form on the planet.   
When I first heard about the human trafficking epidemic (as I was standing in the hallway at Peridance Capezio Center in NYC about to rehearse)  I felt completely paralyzed, top to bottom.  Next question I asked myself -what can I do? And I began.

N:  Your work has varied greatly over the years, from the stage to tv and film to the classroom.  If given a choice, would you stick with one venue?  What do the different venues bring to your work that the others can't?

photo by Lauren Volo

KS:  I am absolutely into presenting and creating in each of these venues time and time again.  No preferences here.  Communicating via dance in any and every realm.....all of it feels right and necessary.  Dance has a way of communicating that words will never do justice to.  Whether you are the one dancing (the one speaking) or the one observing (the one listening) dance takes humanity to a completely alternate and unique space. One that words alone are incapable of reaching. I am so very into that. Always have been, always will be.

N:  Many people talk about your passion and positive energy.  Is presenting those things something you actively work towards or is that just your underlying personality shining through?  It's easy to become discouraged as a choreographer these days, with minimal funding and less and less support for the art form.  Why do you think what we do is important?

KS:  Well, it is kind to hear that people talk about my passion, positive energy, etc.  Do I work on that? Yes, every day I just imagine butterflies and unicorns and puppies...nah, I'm kidding. 
 

Here's the deal--

photo by Lauren Volo

Dance is analogous to life and to love. I could go on about this for days on end.  And I know I will be talking and dancing about it for decades.  I am in awe of the way dance changes humanity inside and out. It is its own very special and effortless and instinctual language.  To then add an infinite vocabulary to said language....there is no discouragement, only more discovery.
 

N:  People in the arts often develop strong mentor/mentee relationships.  Did/do you have a mentor throughout your career?  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  How do you feel those relationships change your work?

KS:  Yes, I have mentored artists, dancers, choreographers and artistic directors.  I am down to pass on every tidbit of my experiences with them all the while learning countless amounts form them.
 

photo by Lauren Volo

I believe that listening and learning from those we are drawn to or intrigued by is one of the greatest forms of learning. Read "Letters to a Young Poet" by Rilke.  That will mentor you. I also feel strongly that one must throw away what they have learned and go into the unknown, into the imagination, into the unspoken....and create from there.  However, for advice on booking theaters, dancers, lighting, etc - yes, hit up a mentor.   And prepare to allow the gratitude to overflow in you as you learn. I think it is such a cool process to be mentored by another whether it is in one encounter or as an ongoing process. 
I continue to learn immeasurable amounts simply by observing those I adore and by those that provoke me artistically.

Getting to Know Angela Gallo!

We have loved getting to know so many artists from the CoolNY 2014 Dance Festival!  Today we'd like to introduce you to Angela Gallo of Sapphire Moon Dance.  You can catch her piece Friday, February 7th at 7:00pm & Saturday, February 8th at 9:00pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

Photo by Yi-Chun Wu

N:  It sounds like your work crosses a lot of genres.  Can you talk about specific ways you've integrated multimedia elements into your work?

AG:  I have done this in a number of ways. Some works use text either pre-recorded or with the dancers speaking as they dance. In terms of more multimedia effects, some of my work simply uses pre-recorded video projections but others use more interactive video work. I use the program Isadora, developed by Troika Ranch, to create effects in the video or the sound score that can be manipulated my my self or the dancers in real time during the performance. 

photo by Miguel Anaya

N:  This isn't your first time at the CoolNY Dance Festival.  Can you talk a bit about the piece you'll be performing this year?

AG:  This year I am performing a duet with a colleague that I have danced with for many years, Eric Blair. He and I attended graduate school together and have danced together numerous times since then but it has been a while since our last work and I am very happy to be in the studio creating and performing together again. The work itself deals with cycles and patterns that we get stuck in both individually and in relationships. 

N:  Festivals like this bring together a wide range of performers from across the globe and create opportunities for artists to expand their communities.  How is Sapphire Moon Dance developing the community in Columbia, SC? 

AG:  The arts community in Columbia is a pretty exciting one for such a small city. There are a number of really talented artists to work with here. The work that we do tries to expand what people in this area are comfortable with. It is a much more conservative city than where I am from so I am trying to expand the knowledge and comfort level with contemporary dance and dance installation type projects. 

photo by Yi-Chun Wu

N:  People in the arts often develop strong mentor/mentee relationships.  Did/do you have a mentor throughout your career? 

AG:  I am not sure if I have had a true mentor. I have people that have inspired me as an artist, educator, choreographer and dancer. Different people for those different roles. Some of my faculty from graduate school have been mentors for me and I still write then when I have questions or concerns. Some of my friends from when I lived and danced in NYC are definitely mentors/inspiration for me. There are a couple professional dancers and choreographers that I have worked with over the years that have continued to inspire me and also have great advice though some difficult times.

N:  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  

AG:  I hope that I can be a mentor for my students. Many of then dance in my company after they graduate and its really nice to see how they continue to grow after college.

Getting to Know Kyla Barkin

Here's another interview from one of the many CoolNY 2014 Dance Festival Artists.  Kyla Barkin is the artistic director of BARKIN/SELISSEN PROJECT.  Since Monkeyhouse is performing the first weekend of the festival I'm sad I wont get to see her work, but you can find Kyla and her company on Friday, February 7th at 9:00pm & Sunday, February 9th at 6:00pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

N:  From reading descriptions of your work it sounds like you often deal with topics drawn from the sciences.  (You don't get the word neuroplasticity in the description of a dance piece very often!  I'm excited to see the piece!)  What is your non-dance background?  What draws you the partnering of dance and math/science?

photo by Sloane Timson

KB:  I have always been fascinated by the human body and its mechanics.  While studying anatomy, kinesiology, biomechanics, exercise science, yoga, and more, I developed a greater appreciation for science which expanded to physics and eventually beyond.  There is quite a bit of physics involved in dance therefore we are constantly considering scientific notions as well as applying the scientific method to almost everything we do in rehearsal.  I have also had many relationships with friends and family who are scientists and artists who are intrigued by and incorporating elements of science in their work.  These people have been tremendously influential in my interest and understanding, but what is more is that their passion for math and science is as strong as any artist's for their own form, and nothing less than inspiring.  Additionally, I believe that humans best absorb information when all senses are engaged and, by applying scientific theories or concepts within our process, we are able to deeply understand and communicate new information which is useful for all involved.  I also believe that there must be a balance of opposites to create a full spectrum of anything.  Merging the arts and sciences is an example of the beauty of that synergy.  There is science and math in the arts as much as there is passion and creativity in science and mathematics and we need not keep them completely separate, but rather bring them together to create a fuller experience. 

Photo by Tom Caravaglia

 N:  I am very curious about your piece "Differential Cohomology".  I read that it is based on a mathematical theory.  Can you tell me about where the idea for the piece came from and how it developed?KB:  Differential Cohomology is a mathematical theory developed by Jim Simons.  Early one fall morning, on a walk in central park, Jim was explaining the theory to me and we realized that it could make a great dance.  Jim commissioned the piece to be shown at the opening of the Simons Center for Geometry and Physics' International Workshop on Differential Cohomology at Stony Brook University. Differential Cohomology, dance of the diagram  was shown as part of an evening of BARKIN/SELISSEN PROJECT's work with the Sirius String Quartet and Ray Anderson and Band at the Staller Center for Performing Arts Main Stage in 2011.  As far as how the piece developed, Jim had defined 8 terms for us to be able to understand the diagram and theory.  I took those 8 terms and created one movement for each, then either accumulated or subtracted to create two phrases.  When executed simultaneously, there would be some perfect unison and some variation.  A duet was also created to represent the mysterious and all-knowing center couple who absorb and impart information.  This vocabulary became the seed for the movement and was further fleshed out by using other descriptive words that were used by Jim in his lecture.  We also created phrases and variations using the dancers' input and interpretation of some of the "rules of the road" for following the theory (topology, geometric shape, interactions, being "crushed to zero", etc.)  Sometimes problematic was the ability to stick strictly to the rules due to the fact that the moving parts of the diagram may only move from stage right to stage left, with the exception of the center duet couple, who have more freedom.  Jim recognized this as an issue for stage and we agreed that it would be ok to break the rules sometimes under the philosophy of all must be legit during the day however, "there's no accounting for what happens at night," which was helpful in building suspense, tension/release, etc…   

N:  This is fascinating!  I can't wait to watch the documentary on the making of the piece by Nel Shelby!

N:  I see that you danced for Doug Elkins.  (He is one of my favorite choreographers!)  Who are some of your favorite choreographers you've worked with?  What about choreographers you haven't had the chance to work with? 

photo by Hannah Schillinger

KB:  Yes, Doug is a great choreographer.  I worked with him when I was pretty young and new to New York City…  One of my favorite choreographers is actually Pina Bausch.  I feel the range of movement and theatrics is crafted and textured in such a way that I am often transported and inspired.  I generally find that I have fewer favorite choreographers and more favorite pieces or moments that I've seen and/or been a part of.  Having said that, another favorite is Janis Brenner with whom I've worked for many years.  I met Janis at UCLA when I was a freshman and joined her company shortly after moving to New York in the late 90's.  Janis continues to touch me with her work to this day and in different ways on different days.  It is multi-layered, intelligent, aesthetically interesting, and emotionally relevant to many. 

N:  People in the arts often develop strong mentor/mentee relationships.  Did/do you have a mentor throughout your career?  

KB:  I have always considered Janis to be a mentor.  There are other people I reflect upon and draw from; however, it's a little of this and a little of that.  Janis has been around and intentionally guided me for a very long time.  She is usually the first person I call when I am ready to reveal what I am working on and to receive trusted feedback. 

photo by Yi-Chun Wu

When creating work, different influences and people ring in my mind.  Sometimes it is about using tools or answering questions, sometimes about accessing or acquiring new ideas and/or skills, but mostly it is about finding your own way by using each experience as information to increase awareness as well as knowing when to let go, when to get out of the way, and how to cultivate art and relationships.

N:  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  How do you feel those relationships change your work?

KB:  Hmmm.  That is a bit of a hard question, because one doesn't always know whether they have made or are making that type of impact on anyone specifically at the time.  The short answer is, yes.  I have had long-term students, interns, assistants, dancers, etc. and it is clear that we have wonderful relationships and they have learned a lot, as have I.  According to "neuroplasticity"  I guess we are all influencing one another.  It is just a matter of whether someone has been named "mentor" or has been making a lasting and/or visible impression over a steady period of time.  I do feel nurturing toward quite a few people with whom I work and love giving feedback and workshopping ideas to help in any way I can.  I also feel that we are relatively young as a company and we may be in the early stages of engaging in mentorships rather than looking back at a longer history of having done such a thing, officially.

Meet Jacob Rosen!

We are excited to introduce two new interns for 2014 and welcome back an old one!  First, meet Jacob Rosen.  Jacob has been a student of Nicole's at Natick High School for two years now.  He is a hard working, dedicated performer who is always thinking.  We're excited to have him around Monkeyhouse!

Jacob Rosen is a Sophomore in High School and an impulsive performer. In addition to theater he is involved with multiple choral ensambles, including the Natick High School Advanced Choir and the Natick High School Mens "Style" Ensamble. Jacob is also a member of the Natick High School Speech Team, where he has placed and thrived in events such as Humorous Interpretation, Play Reading and Dramatic Performance, also qualifying and competing in the National Catholic Forensic Leagues National Tournament of 2013. He is more than ecstatic about interning at Monkeyhouse. Jacob was privileged enough to be dancing and jiving with what appears to be grace in school productions under Nicole's wonderful and honest choreography for 2 years now. He is a true believer of the quote "A dream is only a dream until you make it real." It does not matter to him that the quote is spoken by Harry Styles of One Direction, it still rings true to him. Jacob loves Mokeyhouse and he doesn't care who knows. A child prodigy whom remains undiscovered, he would like to thank his Mother and Father for obvious reasons and others reasons that are not so clear. Also he would like to thank those who gave him this wonderful opportunity, Nicole and the wonderful company Monkeyhouse.

Getting to Know Ted Thomas and Thomas/Ortiz Dance

In celebration of our upcoming performance at the CoolNY 2014 Dance Festival Monkeyhouse has spent some time this winter interviewing other choreographers who will be joining us in Brooklyn at the end of the month.  Our second interview was with Ted Thomas, Artistic Director of Thomas/Ortiz Dance.   Based out of New York City, Thomas/Ortiz Dance is a contemporary dance company under the direction of Ted Thomas and Frances Ortiz.  You can find them performing at the CoolNY 2014 Dance Festival on Thursday, January 30, 7:00pm, Saturday, February 1, 7:00pm & Saturday, February 1, 2:00pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

Elyssa Dole by Lois Greenfield

N:  Your company bio talks about there being 12 dancers. Have you always worked with the same group or do you intentionally keep the number at 12 as you lose and add dancers? If so, what makes 12 the magic number?

TT:  The dancers do change from time to time, but in order to present a full, well rounded evening of programing of our repertory we need 12 dancers. Our larger group pieces have 10 dancers, so we still leave dancers to entertain the audience while the 10 that just performed or about to perform, change and get ready. 

N:  Thomas/Ortiz Dance has two artistic directors, yourself and Frances Ortiz. How did you and Frances meet? 

TT:  Frances and I meet in college at Purchase in 1991. We became close friends while rehearing the Nutcracker. We then followed each others career for fifteen years until finally marrying in 2006. 

N:  What prompted you to create a company together?

TT:  We've always shared a love and passion for dance, so moving and creating movement became the fabric of our relationship. A conversation we could always have, whether for fun or work. We dance together all the time. We teach in our ballet school in CT of 500 student together. We rehearse and choreograph ballets on our pre-professional company of 25 dancers together and we challenge our creativity with professional dancers and pieces for mature dance lovers through Thomas/Ortiz. 

N:  Every artistic team has its own style and methods. It appears that you have pieces choreographed by each of you individually as well as work created together. Do you have input on each other's work even if you aren't specifically involved? 

TT:  Yes, we ask each other for advice or opinions on our separate dances.

N:  How do you create work as a pair?

TT:  It varies, but mostly we tag team, she'll go in to rehearse one day, I'll go in the next, back and forth then when the outline is laid, we'll go in together and sculpt it. We each have our strengths.

N:  People in the arts often develop strong mentor/mentee relationships. Did/do you have a mentor throughout your career? 

TT:  For myself, Carol Walker of Purchase College and Dr G Scott of NYU.

Getting to Know Peggy Choy

We are excited to present the second interview with artists from the CoolNY 2014 Dance Festival.  Today we'd like you to meet Peggy Choy.  Peggy Choy Dance will be performing at the CoolNY 2014 Dance Festival on Friday, January 31, 7:00pm and 9:00pm, Saturday, February 1, 9:00pm & Sunday, February 2, 6:00pm All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

Photo of Peggy Choy by:  Steve Eliasen

N:  Monkeyhouse is very interested in education and community development. Can you tell me a bit about THE KI PROJECT?
PC:  The mission of The Ki Project, Inc. (a not-for-profit organization) is to support creative thinking and intercultural performance for future generations. The Ki Project has supported not only the performances by the Peggy Choy Dance Company, but has also supported innovation in performances by emerging groups based, for example, in Cambodian and Hmong communities--two distinct Southeast Asian communities.

N:  The idea of using the performing arts to discuss topics like history, economics and health is fascinating. In what ways do you feel like you are seeing the change to a more sustainable future in your own life?
PC:  “Ki” refers to the inner life-force energy in Korean language (“qi” in Chinese) that is at the center of Asian dance forms and martial arts. This energy is sustainable and renewable and connects with the focused and clear mind that is a root inspiration for me. It is my hope that through my dance I can communicate this powerful energy to the upcoming generation.

N:  Many dance companies these days have trouble passing the five-year mark, yet Peggy Choy Dance has been going strong since the mind 1990s. What is your secret?
PC:  A vision of social transformation and revolution has consistently fueled my dance expression. I often raised my own funding so that I could create work that was not following the mainstream, or what someone else wanted. Since I had to balance creating dance with working and bringing up two children, I had to be patient and have a longer timetable for completing a dance work.

N:  Do you have any tips for young choreographers who are starting companies today? 
PC:  Define a vision for the future beyond your own individual lives, and fearlessly follow your vision.

N:  Both of the pieces you're presenting at the CoolNY Dance Festival are inspired by Asian dance and the Afro-Brazilian martial art of capoeira. Can you talk about how you began working with those two styles?  

Ze Motion, Eugene "Spydey" Jordan,
Gabriel "Kwikstep" Dionisio, Victor "Kid
Glyde" Alicea, photo by Julieta Cervantes

PC:  I should clarify that Asian dance is not a “style”—it’s a general category. In my choreography, Asian dance influences have been specifically Korean dance and Javanese dance forms that I began learning in the 1970s—first in Hawai‘i and then eventually traveling to Korea and Java. I have long been interested in martial arts—I also began learning Chinese taiji quan in the ‘70s. I became interested in learning capoeira as a martial art—inspired by my company members. I was excited when I found that capoeira not only satisfies my love of martial arts but also my love of dance. There are fascinating areas of overlap with taiji quan, including movement that is circular, and a balancing of right- and left-sided movements. There are deep cultural, social and even political histories that one learns that are integral to understanding all of these forms.

N:  Are there things from each that naturally lend themselves to being put together?
PC:  The martial arts logic of avoiding oppression or domination is present in both taiji quan and capoeira. The continuous flow of movement and energy that is found in Korean dance is also found in capoeira. With Javanese dance, there is circularity but it is more contiguous in isolations of the joints. 

N:  Are there things that make the blending more difficult? 
PC:  Whereas the dance forms mentioned and taiji quan upright, with capoeira, one is continually moving from an upright stance to inversions. The fusion is not more difficult but more interesting! 

N:  People in the arts often develop strong mentor/mentee relationships. Did/do you have a mentor throughout your career? 
PC:  I don’t think I have had a close, long-term mentor. I’ve had to do my own exploration without much guidance.

N:  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  
PC:  I try to help and support artists who come into my life—particularly those artists who have worked with me more long-term. 

N:  How do you feel those relationships change your work?  
PC:  I appreciate and respect these artists as unique unto themselves, with a knowledge that is their own. I learn from them as I discover the depth of their own wisdom, and my work gains from this synergy just as I hope they are transformed in some small way.

Happy Hanukkah!